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Burlington jfine Erts Club. 
 
 CATALOGUE 
 
 OF SPECIMENS OF 
 
 JAPANESE 
 
 I \COUER AND METAL WORK 
 
 Exhibited in 1894. 
 
 LONDON: 
 PRINTED FOR THE BURLINGTON FINE ARTS CLUB. 
 
 1894. 
 
^^-^°^" 
 
 ^ 
 
 '^ 
 
 EXHIBITION COMMITTEE. 
 
 Professor W. Anderson. 
 Professor A. H. Church. 
 Alfred Cock, Esq., Q.C. 
 Edward Dillon, Esq. 
 Edward Gilbertson, Esq. 
 
 C^Cl^JU'^^Mj^l^ 
 
¥• 
 
 :n 
 
 LIST OF CONTRIBUTORS. 
 
 ¥ 
 
 .4. 
 
 •William C. Alexander, Esq. 
 * 'Professor Wm. Anderson, F.R.C.S. 
 
 S. BiNG, Esq. 
 •Professor A. H. Church, F.R.S. 
 ■.\.LFRED Cock, Esq., Q.C. 
 *WiLLiAM H. Cope, Esq. 
 
 Thomas W. Cutler, Esq. 
 •Edward Dillon, Esq. 
 •Frank Dillon, Esq. 
 
 F. Ye.\ts Edwards, Esq. 
 *A. W. Franks, Esq., C.B., F.R.S. 
 •Edward Gilbertson, Esq. 
 
 Colonel R. Goff. 
 
 W. Gowland, Esq. 
 
 James Gurney, Esq. 
 •Lawrence Harrison, Esq. 
 
 E. W. Hennell, Esq. 
 
 Sir Henry Howorth, K.C.I. E., M.P. 
 
 Marcus B. Huish, Esq. 
 •Constantine A. loNiDEs, Esq. 
 •Samuel S. Joseph, Esq. 
 •Sir Trevor Lawrence, Bart. 
 •Willoughby J. G. Loudon, Esq. 
 
 •Hon. W. F. B. Massey-Mainwaring. 
 •Colonel Harold Malet. 
 •Hon. Sir Robert Meade, K.C.B. 
 •Richard Mills, Esq. 
 
 E. L. Montefiore, Esq. 
 Alfred Parsons, Esq. 
 Alfred de Pass, Esq. 
 
 •Henry J. Pfungst, Esq. 
 *W. G. Rawlinson, Esq. 
 
 Charles H. Read, Esq. 
 
 ProfessorWm.C.Roberts-AusteNjC.B., F.R.S. 
 •Sir Charles Robinson. 
 *George Salting, Esq. 
 
 Stuart M. Samuel, Esq. 
 
 F". A. Satow, Esq. 
 
 F. G. Smith, Esq. 
 
 G. M. Smith, Esq. 
 
 W. Harding S.mith, Esq. 
 
 R. Phene Spiers, Esq. 
 
 John M. Swan, Esq., A.R..\. 
 *H. Virtue Tebbs, Esq. 
 •Michael Tomkinson, Esq. 
 
 H. S. Trower, Esq. 
 
 • The Contributors whose names are thus marked are Members of the Club. 
 
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 IVIicrosoft Corporation 
 
 http://www.archive.org/details/catalogueofspeciOOburlrich 
 
PREFATORY NOTE. 
 
 jHE limited space afforded by the Gallery has prevented 
 the inclusion of more than a few large objects in 
 Metal. For the same reason, the representation of 
 Arms and Armour has scarcely been attempted. 
 
 It should be noted that many of the dates and attributions 
 given are conjectural, or, at all events, , probable rather than 
 certain. 
 
 Cordial thanks are due to the many Collectors who have 
 placed their treasures at the disposal of the Sub-Committee. 
 Acknowledgments are specially due to those gentlemen who are 
 not Members of the Club. 
 
 It would have been impossible to have arranged and 
 catalogued the numerous specimens of Metal Work and Lacquer 
 shown had it not been for the unstinted labours of Mr. W. Gowland, 
 late of the Imperial Japanese Mint, to whom the Sub-Committee 
 desire to accord the expression of their great debt of gratitude. 
 Mr. R. Phene Spiers has also done good work in connection 
 with the Exhibition. The aid rendered by Mr. G. Kowaki in 
 the revision of the Introduction and the compilation of the 
 Catalooiue has been invaluable. 
 
» » », * • 
 
 1 • * » • J 
 
 INTRODUCTION. 
 
 METAL WORK. 
 
 Part I. 
 
 |T has been remarked by Professor Rein * that almost 
 every kind of metal ornamentation known to Europe 
 was practised in Japan before the country was opened 
 to foreign commerce : and the best European experts have admitted 
 that in metallurgical technique the Japanese have attained a 
 perfection in certain directions that has never been equalled. 
 Their achievements in design, too, afford a rich variety both in 
 motive and in treatment, and in the multitude of examples that 
 have been studied by critics and collectors in Europe and America 
 it is rare to find any work, from the gigantic Buddhist images of 
 upwards of a thousand years ago to the delicately chiselled gems of 
 ornament of the last two centuries, that is not stamped with the 
 individuality of the artist. Repetition of motive must necessarily 
 be common where so many abstract ideas are expressed by popular 
 artistic symbols, but Japan is almost entirely free from the reproach 
 of such slavish imitation as that which too frequently discredits our 
 own art industries. 
 
 How long the Japanese have possessed the secrets of working in 
 metals we do not know. The genealogical tree of the great line of 
 
 • Japan, nach Reisen und Studien dargestellt. 1886. 
 
Vlll. 
 
 armourers, the Miochin,* extends back to the first century of the 
 Christian era, but the earlier dates must not be accepted without 
 considerable reserve. 
 
 There is, however, unquestionable evidence in existing and 
 well authenticated works, that as early as the 7th century a 
 proficiency had been attained in the artistic manipulation of bronze 
 that might arouse the envy of the best workers in metal of to-day. 
 To take as an example the colossal bronze images in the Temple 
 of Yakushiji at Nara, assigned to the period named, we find at 
 once three masterpieces of glyptic art that are still unsur- 
 passed. The much larger image at the Temple of Todaiji is 
 less than a century later (except the head, which was destroyed 
 by fire, and restored, unworthily, at a later period). The magnificent 
 Kamakura Daibutsu, cast in 1252 a.d., is too well known to 
 require further mention. 
 
 It is noteworthy that the task of casting the Nara Daibutsu, 
 which is about 52 feet in height and weighs about 450 tons, is 
 said to have been carried out under the superintendence of the 
 grandson of a Korean immigrant, and that the erection of the 
 Yakushiji images is attributed to a priest named Giogi, who also 
 is supposed to be of Korean birth or descent. Such instances 
 of a belief that important services were rendered by Korea to the 
 Japanese in the production of the earliest, and in some respects 
 the noblest, manifestations of their art, are repeated in many 
 sections of art history, and furnish the Oriental archaeologist with 
 curious material for speculation. Creations such as these are, of 
 course, the work of no 'prentice hands, and we are not surprised 
 to find, amongst the prehistoric archcsologia of Japan, a number 
 of objects of much earlier date, though of simpler construction, 
 including bells, swords and arrow-heads, roughly fashioned in 
 
 * See the paper on the genealogy of the Miochin Family, by Mr. E. Gilbertson 
 and Mr. G. Kowaki, in the Transactions of the Jajian Society. 
 
IX. 
 
 bronze or copper, and sword-guards, helmets and other articles 
 in iron. All these, however, are of antiquarian rather than 
 artistic interest. 
 
 A description of the various articles made in metal would 
 require a volume, and even their enumeration would constitute a 
 formidable list. There are, however, a few objects of especial 
 interest that may be selected as types to show the progress and 
 characteristics of this branch of art. These are arms and armour, 
 mirrors, Buddhist bells and gongs, images of Buddhist divinities, 
 and certain ornaments of utility, such as incense burners, flower 
 vases, candlesticks, lanterns, and reliquaries. Excepting arms and 
 armour, nearly the whole of these formed a part of the ritualistic 
 pomp of the great religion that spreading from India, through 
 China and Korea, to Japan, had brought in its train almost all 
 that was admirable in Oriental art and philosophy. 
 
 The chief energies of the Japanese metal worker down to the 
 date of the collapse of the feudal system were expended in the 
 manufacture and decoration of Arms and Armour. With the 
 terrible overgrowth of the militant spirit that commenced with the 
 rivalry of the Minamoto and Taira factions in the 12th century, 
 and placed the real government of the country in the hands of 
 a long line of generalissimos, the art most appreciated was that 
 which ministered to the success or vanity of the warrior. For 
 a time the aesthetic culture that had been favoured by the earlier 
 regime fell almost into contempt, but this was only for a time, 
 and with the renaissance of painting under the Kano in the 
 15th century, pictorial compositions began to be applied to the 
 embellishments of sword guards, breast plates, and other parts 
 of the weapons and defensive attire of the soldier, and many 
 lines of artist armourers arose. 
 
 Throughout the historical period the profession of the sword- 
 smith was that of a gentleman, and the men who fashioned and 
 
X. 
 
 adorned the appendages of the hilt and scabbard shared in the 
 respect accorded to all who ministered to the prevailing spirit of the 
 age. The powers of the early artist-smiths were mainly exercised 
 over the shaping of helmets, breastplates, &c., in wrought iron, 
 embossed, damascened and engraved in an infinite variety of 
 manners ; and it was but as an amusement to these men when they 
 condescended to elaborate a lotus-shaped vessel for flowers, such 
 as that on Case VIII. (No. 34), a fine ornament like the Miochin 
 Eagle in the South Kensington Museum, or a decorative toy 
 like the articulated Peacock in Case IV. (No. 20). The great 
 family or line — for it must always be remembered that the family 
 in Japan is recruited by adoption as often as may be expedient, 
 and hence that a long descent does not necessarily imply a 
 blood succession — of armourers is that of the Miochin, which traces 
 its origin partly by historical evidence, partly by tradition, to the 
 I St century of our era. These men fashioned all parts of the 
 sword except the blade itself, and everything in the form of 
 defensive metal, but as the decoration of the sword became more 
 pictorial in design, there arose a number of artists who made 
 themselves famous by their skill in forming special parts of the 
 weapon, and every province boasted one or more lines of makers 
 of tsuba, menuki, &c. The occupation of these old military 
 artists is now departed, but it is their descendants and pupils 
 who constitute the backbone of the metal art industry of modern 
 Japan. 
 
 The subject of sword furniture is fully discussed in Part II. 
 of this Introduction. 
 
 Of the Mirrors, very few examples are shown in this ' 
 Exhibition. The oldest historical mirrors in Japan belong to the 
 8th and 9th centuries, but specimens of much greater age and 
 of good workmanship have recently been discovered in dolmens 
 by Mr. W. Gowland. The commencement of the manufacture 
 
XI. 
 
 was attributed by the late antiquarian, Ninagawa Noritane, to 
 tlie period of the Emperor Keiko, who is said to have reigned 
 from A.D. 70 to 130. 
 
 These objects have already been described and discussed by 
 Atkinson, Ayrton, Perry, and Sylvanus Thompson, in this country, 
 by Govi, in Italy, and Berlin, in France ; and it is unnecessary to 
 do more than remind the reader that they were usually circular 
 discs, composed of an alloy of copper, tin, and lead, polished in 
 front and stamped on the back with emblematic designs (Case V., 
 No. 'J2))- The designs on the reverse were sometimes to be 
 traced in the circle of light reflected from the apparently smooth 
 face upon a wall, a phenomenon that has met with a very 
 natural explanation, and is not due, as was formerly supposed, 
 to intentional manipulations on the part of the maker. A bronze 
 mirror of different and more archaic design will be found in 
 Case V. (No. 48). 
 
 The great Bells made within the historic period can be seen 
 only in Japan. The largest specimen in existence, at Sanjusan- 
 gen-do in Kioto, weighs 63 tons, and stands about 14 feet in height, 
 and many others of smaller size, but of perfect workmanship and 
 marvellous purity of tone, are still to be found in various parts of the 
 country. These are of the ordinary cupola form, and are sounded 
 by means of a long oscillating beam, which strikes a boss upon the 
 outer surface of the bell. In some the exterior is almost plain, 
 except for the presence of raised bands, or rows of knobs, while 
 in others the surface is highly decorated with figures of dragons 
 and Buddhist angels in relief, or with moral inscriptions. The 
 various forms are probably all imitations or adaptations of Chinese 
 designs. The collection includes only a few miniature specimens in 
 Case VIII. 
 
 Smaller and less important objects of the same class are 
 little jangling handbells with an internal tongue or loose piece 
 
xn. 
 
 of metal (Case VIII., No. 8), and gongs of various form 
 (Case VIII., Nos. 7 and 8), all employed in Buddhist ceremonials; 
 and perhaps the most curious of these is the bowl-shaped gong 
 (Nos. 31 and 35) which gives rise to undulating waves of sound 
 of peculiar beauty when struck by a skilled hand. When in use 
 it rests upon a cushion which serves as an insulator. 
 
 Vases have been made in an immense variety of designs, and 
 are well represented in Cases V. and VII. The more ancient 
 bear a very close resemblance, both in form and ornamentation, to 
 Chinese originals, and it is probable that many of the examples 
 regarded as Japanese are early importations from the older country. 
 It is only within more recent times that the Japanese artists made 
 a practice of employing their own inventive powers in devising 
 new shapes and embellishments, and it is to the important school 
 formed in the first half of the present century, and including men 
 like Toiin and Seimin, that we owe nearly all the best specimens 
 that come into the European market. It is in the vases, moreover, 
 that the modern tendency to elaboration of design has been most 
 apparent, and, whether or no this sacrifice of the pristine simplicity of 
 form and treatment is an advance in art, it must at least be regarded 
 as an evidence of remarkable mastery of stubborn materials. 
 
 Japanese Candlesticks show relatively little variety of design. 
 The examples employed as appendages to Buddhist altars and 
 shrines most frequently take the form of a crane standing upon 
 the back of a hairy-tailed tortoise, both animals being emblematic 
 of longevity, but other motives, always more or less symbolical, 
 are not rare. The object, as will be seen by reference to the 
 examples in the collection, resembles the mediaeval " pricket " 
 candlestick, and differs from the modern European form in 
 presenting a terminal spike intended to enter a hollow in the 
 base of the candle. 
 
 Okimono. — Objects of a wholly or principally ornamental 
 
Xlll. 
 
 character are seldom of great age. Occasional examples are 
 attributable to the i6th, 17th or i8th centuries, and even to 
 earlier dates ; but ninety-nine out of a hundred of the pieces 
 found in any large collection have had their birth in the present 
 century, and it is in those produced in the first five or six 
 decades that the naturalistic feeling is most strongly manifested. 
 Even in the representations of the dragon, one of the oldest and 
 most favoured motives of the metal worker, a distinct difference will 
 be noticed between the older specimens and those of more modern 
 production, the latter bearing evidences of direct study of snake form 
 seldom exemplified in the former. This will be seen in Case IV. 
 (No. 12); and the same principle may be applied to the rendering 
 of real animals, as in the falcon (Case V., No. 46), the serpent 
 and toad (Case VII., No. 12), and the gold-fish (Case V., No. 27). 
 Naturalism has perhaps reached its highest flight in the works 
 of a living artist, Suzuki Chokichi, whose huge bronze group of 
 peacocks and doves .in the South Kensington Museum is well 
 known to all students of Japanese Art, and who has been admirably 
 represented by a set of metal sculptures of falcons in the Chicago 
 Exhibition. 
 
 This modern tendency is due to the influence of the painter 
 Maruyama Okio, and the great Shijo school which he founded, 
 towards the close of the last century. It is true that few of the 
 well-conceived and beautifully finished works of the Toiin school 
 have equalled the best of the masterpieces of a more remote 
 period in strength of composition, but in other respects they are 
 more pleasing to the eye, and it is to them that Japan owes its 
 recognition by the great majority of the art-loving world outside the 
 far East. 
 
 It will be seen from several specimens now exhibited, that the 
 use of the precious metals for processes of damascening and inlaying 
 is not modern ; but it is only within the memory of the present 
 
XIV. 
 
 generation that the extensive employment of silver, and the 
 marvellous decorative elaboration shown in such works as those of 
 Komai of Kioto (Mantelpiece A and B), have been in favour; and 
 the stimulus for so great a departure from the principles of the early 
 art schools has arisen from the demand for such work in Europe 
 and America. Probably very few of these gorgeous objects are 
 bought by the Japanese themselves, unless as presents for friends 
 in the outside world — friends of whose judgment in art they have 
 not acquired an exalted opinion. 
 
 A large amount of important technical information will be found 
 in Dr. Rein's work and much new matter has been added in 
 Part II. 
 
 WILLIAM ANDERSON. 
 
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 METAL WORK. 
 Part II. 
 
 THE FURNITURE OF THE SWORD. 
 
 LTHOUGH the sword, as a weapon, does not fall within 
 the scope of this Exhibition, its various accessories are 
 well represented. Its scabbard {saya) is of wood, which 
 is usually lacquered and offers a rich variety of designs and methods 
 of treatment. The hilt [istika) is terminated by a pommel (kasJiird) ; 
 on either side of the hilt is an ornament in metal {menuki). Then 
 comes the ferule or ring {fticki), and then the guard {tsuba), on 
 either side of which is a thin plate or washer {seppa). Beyond the 
 second washer there is a piece of roughened metal {habaki), a kind 
 of sheath enclosing a part of the blade and fitting the scabbard 
 closely. In the upper part of the wooden scabbard of the short 
 sword and of the larger daggers, there are commonly two long 
 shallow cavities. One of these — that for the knife — is rarely absent ; 
 the other cavity, for the reception of the skewer or hairpin {Icogai), 
 is of less usual occurrence. The handle of the knife has its outer 
 face ornamented, and is known as the kozuka : the skewer is 
 generally plain, and commonly consists of two parts fitting into each 
 other, and intended for use as a pair of chop-sticks {Jiashi). Two 
 or three inches from the upper end of the scabbard there is a hollow 
 boss or cleat {kurikatd) through which passes a long silk cord {sageo). 
 All swords and daggers do not possess every one of the accessories 
 above-named, but, on the other hand, there are some weapons which 
 are fitted with additional metallic mounts. Amongst these we find 
 
XVI. 
 
 On the scabbard small plates above and below the ^o^at and kozuka 
 cavities, lower down a curved hook, and a ferule {kojiri) at the 
 extremity. 
 
 Of the furniture of the sword and scabbard, the most important 
 pieces from an artistic standpoint are the tsuba, the kozuka, and the 
 fuchi-kashira. As the same metal-worker not infrequently made the 
 whole suite of sword ornaments, and as the same materials and 
 methods were commonly employed in the production of tsuba, 
 kozuka and fuchi-kashira, it has been thought best to describe the 
 first and most important of these mounts in some detail. The 
 descriptions given are applicable in many respects to all the metallic 
 accessories of the sword. 
 
 Upon the manufacture and adornment of the tsuba were often 
 lavished the most extraordinary skill and care, every contrivance 
 of the metallurgical art, and every possible decorative motive being 
 employed to emphasize its importance. Under the rule of the 
 Shogun there were about a million and a-half of nobles and soldiers 
 entitled to carry two swords. The great majority of these men 
 were Samurai — retainers of those local feudal princes or Daimyo 
 whose position and authority were derived from the Shogun. On 
 the abolition of the Shogunate, and the resumption by the Mikado 
 of his ancient prerogatives, the members of the great military class 
 lost their privileges, and were no longer permitted to carry swords. 
 And in the year 1876 an imperial edict was promulgated by which 
 the right to bear their old weapons was abolished. After the 
 ist of January, 1877, when this edict took effect, the curio shops 
 in Japan were filled with swords once highly prized by their owners, 
 and since that time tens of thousands of these obsolete weapons 
 have found their way to Europe, or have been dismembered in 
 Japan, their more attractive fittings having been sent out of the 
 country for sale. Even now there are occasional shipments of 
 immense numbers of guards, six or seven thousand at a time. Such 
 
XVII. 
 
 large parcels seem to have been taken for the most part from the 
 swords of the poorer Samurai, but occasionally the connoisseur 
 finds among them some specimens well worthy of preservation. 
 Examples of antique tsuba of the more elaborate and choicer kinds 
 are now becoming exceedingly scarce even in Japan. 
 
 In spite of the fact that a sword-guard is in its very nature 
 a mere fragment — a part only of a decorative scheme — a collection 
 of tsuba affords an excellent opportunity for the study of Japanese 
 metallurgical art and Japanese design. The surface of the guard 
 is large enough and its form sufficiently simple for the proper 
 display of the character of its material, its workmanship and its 
 ornament. Tsuba are easily arranged with effect in the drawers 
 of a cabinet ; the materials in which they are wrought are capable 
 of perfect preservation with ordinary care ; and a good series of 
 specimens is rich in interest and beauty. 
 
 The remarks which follow are grouped under separate 
 headings: — Tsuba: their Shape; Size; Weight; Inscriptions; 
 Makers' Names ; Material ; Decoration. 
 
 Tsuba : their Shape. — Although there is considerable variation 
 of shape amongst tsuba, the prevalent form in a general collection 
 will be found to be a short ellipse, but many specimens, especially 
 those of early date, have an exactly circular outline. The remaining 
 shapes, with a few exceptions to be presently noted, may be 
 described as rounded oblong, barrel-shaped, square, octagonal, 
 diamond-shaped, four-lobed and four-cusped. In all, nine types 
 may be recognised, although between them are many transitional 
 forms. There exist also a number of guards the outlines of 
 which are determined by the form of the decorative elements — 
 such as a group of fans, a couple of butterflies, a branch of a 
 flowering tree — of which use has been made in ornamenting them. A 
 few guards occur having a pentagonal, a hexagonal, or a heptagonal 
 outline. A more or less irregular or undulatory edge is not 
 
xvm. 
 
 uncommon. Sometimes the edge is beaded, pierced, or ornamented 
 with reUefs. 
 
 In connection with the forms of sword-guards, the openings 
 which occur in them may be noted. Besides the wedge-shaped 
 opening for the sword-blade, there are, in the guard of the 
 wakizashi (the short sword), of some daggers, and of the 
 longer sword {katana) two lateral holes, one elliptical for the 
 passage of the kozuka, and one three-lobed for the kogai. Some- 
 times these openings present other shapes, not infrequently the 
 aperture for the kogai is wanting or stopped up. In fact, plugs of 
 metal — pewter, bronze, shakudo, shibuichi or gilt copper — are 
 frequently found inserted in both openings. These plugs are 
 sometimes beautifully ornamented with inlays or with punched 
 and engraved patterns. They were introduced when a guard was 
 adapted to a sword the scabbard of which did not contain cavities 
 for the reception of the kogai or the knife. The largest guards, 
 for the two-handed swords, and those belonging to the small 
 daggers, have no lateral openings. In many pierced guards, where 
 the ornamental motive is irregular and picturesque, it is usual for 
 the outline of the openings to follow the same fashion. Very 
 rarely two small holes in the lower part of the guard may be 
 observed ; through these a cord was passed in such a way as to 
 prevent the sword from leaving the scabbard. 
 
 Tsuba: their Size.and Weight. — Although the dimensions of 
 the tsuba are in great measure dependent upon the size of the 
 sword, there is no hard and fast rule in the matter. The dagger, 
 the blade of which is about 9 inches long, generally has a guard so 
 small (2 inches by i|) as barely to project more than a ^ of an inch 
 on either side — sometimes, in lieu of a guard, it bears a collar 
 only. The short sword and the hunting sword, with blades from 
 12 to 24 inches, are fitted with guards, having, if circular, a diameter 
 ranging from 2 to 3 inches. The longer swords (25 to 32 inches) 
 
XIX, 
 
 have larger guards, sometimes 4 inches across. And there are 
 some still larger guards belonging to the two-handed swords. 
 A few exceptionally large guards exist ; they belonged to the 
 swords which are known as processional, or to those of the 
 fencing-master. 
 
 An average guard weighs between 2 and 3 ounces avoirdupois ; 
 many of the Akasaka guards, which are largely perforate and cut 
 away, are as heavy as the solid guards with relief-decoration, for 
 they were made thicker in substance in order to .secure adequate 
 strength. The heaviest guard in the collection weighs just over 
 8 ounces. 
 
 TsuBA : THEIR INSCRIPTIONS. — The characters engraved or 
 inlaid on guards convey much interesting information. They 
 comprise one or other, but never, on the same tsuba, all, of the 
 following particulars : — 
 
 (i) The name or names, personal and family, and sometimes 
 the honorary title, of the maker of the guard ; and, not 
 infrequently, the designation of his studio. 
 
 {2) The place or province where the maker worked. 
 
 (3) The date. 
 
 (4) The age of the tsuba-maker. 
 
 (5) The original designer. 
 
 (6) The name or title of the person for whom the guard was 
 
 made, or of its owner. 
 
 (7) A dedication to a shrine, temple, deity, or illustrious 
 
 personage. 
 It may be at once stated that the particulars included under 
 the headings 3 to 7 are but rarely given, and that a large proportion 
 of fine guards — perhaps fifty per cent. — bear no signature or mark 
 of any kind. This is particularly the case with the early specimens, 
 with the tsuba made for the Mikado, the Shogun and the nobles, 
 and with the Akasaka guards. It should be added that the 
 
XX. 
 
 characters inscribed on tsuba were executed by means of repeated 
 blows with fine chisels and not by a graving tool. 
 
 A few illustrative particulars, more specially with regard to the 
 information afforded by inscriptions falling under the first, second 
 and third of the above headings, may now be given. 
 
 I. The name or names of the guard-maker are commonly 
 inscribed in Chinese characters, but sometimes they occur in a 
 stamp or seal-form, called in ; and sometimes in a fanciful design 
 or " written seal" called kakihan, a sort of monogram. This latter 
 is usually engraved, the former being inlaid with gold wire. The 
 ordinary signature is often followed by the kakihan, while the in or 
 seal generally stands alone. The kakihan of the signature might be 
 copied ; to copy the in was forgery. Both in and kakihan could be 
 registered, when documents bearing them became legal evidence. 
 
 The interpretation of all these kinds of signatures is attended 
 with difficulty, especially so far as regards the particular pronunciation 
 adopted by the Japanese artists themselves for the characters. In 
 illustration of this a quotation may be given from a letter received 
 (in 1 891) from an accomplished Japanese expert: "I tried to read 
 the signatures. It is very difficult to say whether that on the two 
 guards is Tatsunaga, or Tokinaga, or Tokitoshi, or it may be read 
 Shinji. It is annoying that we cannot read the names of our 
 compatriots. I do not think that the majority of educated Japanese 
 know how the name of the present Minister of Commerce and 
 Trade is to be read, or that of the Vice-Minister of Foreign Affairs." 
 The difficulty in question may sometimes be resolved by referring 
 to special Japanese works {e.g., the Soken Kisho) in which the 
 adopted pronunciation is given in the syllabic signs of the Katakana 
 by the side of the characters. The decision between the Japanese 
 and Chinese pronunciation of a name is also frequently a matter of 
 doubt. Thus the three Chinese characters which form the family 
 name of a number of sword guard makers are sometimes read 
 
XXI. 
 
 Sno-A-Mr, sometimes Masa-a-ya, the former being the Chinese, the 
 latter the usual Japanese pronunciation. 
 
 The family name, when it occurs in a signature, is placed 
 first, being followed by the personal name. Thus, in Inouye 
 Michitaka, Inouye is the family name, Michitaka the personal. 
 Sometimes a tsuba-maker's signature comprises three, or even 
 four names. Thus we find Umetada Shichiyemon Tachibana 
 Shigeyoshi. Here Umetada is the family name, Shichiyemon 
 the common or official name {called tsusho), Tachibana, another 
 and ancient family or clan name (called kabane or sei), while 
 Shigeyoshi is the individual or personal name. The assumption 
 by the craftsmen of such famous names as Tachibana and Fujiwara 
 was, in some cases at least, the consequence of a kind of adoption. 
 Honorific titles, such as Hogen, Hokio and Kami, were occasionally 
 accorded to celebrated workers in metal. The name of the maker 
 is frequently followed by tsukuru, signifying " made by." 
 
 The place of manufacture is usually indicated by naming the 
 Province ,in which it was situated, the town or village being 
 sometimes specified also. Thus the Inouye Michitaka, mentioned 
 before, begins his signature with Choshu Hagi ju, that is resident 
 (in the town) Hagi (in the Province) Choshu. Among the 
 Provinces most commonly named on tsuba are Choshu or Nagato, 
 Bushu or Musashi, Inshu or Inaba, and Joshu or Yamashiro; Kofu, 
 by which is meant Yedo, is of frequent occurrence. 
 
 The dated guards are rare. The years are indicated in two 
 different ways. In one of these the era or period {nengo) is given, 
 and is followed by a numeral. Thus, on one of the guards in the 
 Exhibition we find the words " Kioho juni," meaning the 12th year 
 of the nengo which began in a.d. 1716 and lasted until 1735; 
 the 1 2th year corresponds with a.d. 1727. Another way of marking 
 the date of manufacture is by the use of cycles of 60 years. A 
 comparatively modern guard in the present collection was made 
 
xxu. 
 
 " in the 2nd month of spring of kanoye tora." Now kanoye tora 
 
 is the 27th year of the cycle, which, in this case, is the one which 
 
 commenced in a.d. 1804; its 27th year was therefore 1830. The 
 
 next recurrence of kanoye tora was 1890; the previous occurrence 
 
 was 1770; both of these dates are incompatible with the style, &c., 
 
 of the specimen in question, 
 
 Tsuba: their Material. — The earliest guards were made of 
 
 iron ; this metal was much used in later times also, especially by true 
 
 warriors and in serious fights. Copper, various kinds of bronze, and 
 
 For examples of the two distinctively Japanese alloys, shibuichi and shakudo, as well 
 
 Shibuichi, see — 
 Case I. (4) I, as silver and even gold, were likewise employed as the material for 
 
 tsuba, and also to a large extent in their ornamentation. Shibuichi 
 For examples of 
 
 Shakudo, see — (= one-fourth) should contain one-fourth silver and three-fourths 
 Case I. (i) 29, 35, 
 
 36, 40, 42, 66. copper, but often shows a higher percentage of silver, sometimes 
 
 (6) 23, 35. ' even 50 per cent., though sometimes much less ; traces of gold 
 / X g ■ ^^' ^^' and of lead are frequently present. Shakudo is an alloy of 
 copper containing from 1.2 to 6 per cent, of gold; shakudo 
 generally contains also i or 2 per cent, of silver and sometimes 
 a little lead. All the varieties of shibuichi and shakudo present 
 very much the appearance of ordinary copper until they have 
 received a special treatment. This produces a patina upon the 
 surface, and consists of pickling in a solution which is used at 
 a boiling temperature. In this, shibuichi develops a surface- 
 coating rich in silver and having various tints and tones of 
 grey, while shakudo becomes of a rich bluish or violet black; in 
 the latter case the patina, according to the analyses of Professor 
 Roberts-Austen, seems to be a mixture of the suboxides of gold 
 
 For examples of and copper with a little oxychloride of the latter metal. By the 
 see ' employment of another pickle, copper acquires a beautiful lobster red 
 
 Caselll (Oi 2 4. or reddish brown colour, due to the presence of a film of the suboxide 
 of copper and not to any varnish or lacquer. The composition of 
 four of the pickling liquids used by Japanese metal-workers to 
 
XXIU. 
 
 produce variously coloured surfaces on alloys of copper was 
 ascertained many years ago by the late J. G. Hochatatter Godfrey, 
 a German metallurgist who worked for a time with Dr. John Percy. 
 He presented to the School of Mines, in the year 1873, a set of 
 24 specimens of metals and alloys used by Japanese craftsmen, and 
 along with these some particulars as to their composition and the 
 ingredients of the pickling liquids employed to colour them. His 
 figures, translated roughly into their English equivalents, are worth 
 reproduction. 
 
 For copper, the bath was made of — 
 
 551 grains of crystallized sulphate of copper, 
 211 ,, verdigris, 
 5 fluid drachms of vinegar, 
 I gallon of water. 
 For a shibuichi, containing 32 per cent, of silver — 
 1,495 grains of crystallized sulphate of copper, 
 1,495 >> common salt, 
 I gallon of water. 
 For a shakudo, with 2.9 per cent, of gold, and a shibuichi 
 having 30 per cent, of silver — 
 
 427 grains of crystallized sulphate of copper, 
 85 „ verdigris, 
 ^H| 141 common salt, 
 
 ^HT 85 crystallized nitre, 
 
 ^^m 227 flowers of sulphur, 
 
 ^Hj I gallon of vinegar. 
 
 ^V For the remaining 19 alloys, which include many varieties of 
 
 ^m brass and bronze, and of shakudo and shibuichi, and of mixtures 
 of the two last alloys, the pickling solution contains — 
 282 grains of crystallized sulphate of copper, 
 427 „ verdigris, 
 
 I gallon of water. 
 
XXIV. 
 
 It is to be noted that most of Mr. Hochstatter's figures for 
 
 the components of the copper alloys, imply the presence in t:. 
 
 copper employed of 2 or 3 per cent, of antimony ; he does r •. 
 
 mention arsenic or lead, which latter metal Professor Roberts- Auste. ; 
 
 has found frequently in his analyses of Japanese copper alloys. 
 
 The patina producible on copper alloys by means of these 
 
 solutions, varies a good deal with slight variations in the constituents 
 
 of the metals operated upon. The results obtained by the old 
 
 Japanese craftsmen must have been to a great extent, and in very 
 
 many cases, accidental, for the proportions of the various meta - 
 
 contained in some of their alloys are such as to show that the - 
 
 knowledge of the materials employed was very imperfect. 
 
 For examples of While on the subject of copper-alloys, a few words may b 
 
 Case I. (1)13, IS ^dded as to the yellow bronze known as sento/cii, and the white 
 
 > . ^. ) 3i> bronze called sazvari. Sentoku is reported by Professor Roberts 
 
 Casein. (1)1,28, Austen to contain in 100 parts : — 
 30 to ^y. i 
 
 Case 111.(2) 24,(5) Copper 72.3 
 
 Zinc 13.1 
 
 For examples of 
 
 Sawari, see — Im- - - - - -o. I 
 
 Case 1.(0 80, (6) ^^^^^ ^^ 
 
 Other metals - . . - 0.3 '1 
 
 It is soft and easy to work, and resembles brass rather thani 
 true bronze. It is worthy of remark that at the sale in Paris (1891)1 
 of the collection of the late Philippe Burty, no less a sum than] 
 1,500 francs was obtained for a tsuba in sentoku, made by 
 Yasuchika. Sawari (white copper or white bronze) is generally] 
 known as speculum metal, which contains about 24 to 29 per cent, 
 of tin, the remainder being copper. It is very brittle and of a 
 
 § Analysis of Oriental Metal -Work : H.M. Stationery Office, 1892. 
 
 t The ancient bronzes of classic and mediaeval times often contained lead. 
 Bronze, the aes brundisinum of Pliny (from Brundusium, the modern Brindisi), is 
 described as containing both lead and tin in a MS., now at Lucca, written between 
 the years 768 and 814, and quoted by M. Berthelot in his C/iimie des Anciens. 
 
XXV. 
 
 decided grey hue. It is let into cavities in the metalHc base to be 
 ornamented, not by hammering, but by fusion. It is singular that 
 the same alloy, having almost precisely the same percentage 
 composition, was in use for mirrors by the Phoenicians and the 
 Romans. 
 
 A few words concerning the iron so often employed for tsuba 
 (and indeed for other accessories of the sword, and for many 
 ornamental and useful objects) may here be introduced. As no 
 analyses of this metal were available at the time, the writer asked an 
 expert metallurgical chemist, Mr. Arnold Philip, then (1889) of the 
 Royal Engineering College, Cooper's Hill, to examine chemically 
 three typical guards. Mr. Thomas Turner, of the Mason College, 
 Birmingham, was so good as to determine their degree of hardness. 
 The percentage results, with estimations of specific gravity, are 
 given in this table : — 
 
 I 
 
 » 
 
 
 
 1. 
 
 n. 
 
 in. 
 
 Carbon 
 
 - 
 
 0.029 
 
 0.046 
 
 0.057 
 
 Silicon 
 
 - 
 
 0.046 
 
 0.079 
 
 0.070 
 
 Phosphorus - 
 
 - 
 
 0.039 
 
 0.046 
 
 0.046 
 
 Sulphur 
 
 - 
 
 0.003 
 
 0.006 
 
 0.004 
 
 Copper 
 
 - 
 
 trace 
 
 trace 
 
 ti'ace 
 
 Iron (by difference) 
 
 99.883 
 
 99.823 
 
 99.823 
 
 Spec, gravity 
 
 
 7.869 
 
 7-795 
 
 7.800 
 
 Hardness (T. Turner) - 
 
 19° 
 
 15° 
 
 18° 
 
 No. i. was a rough guard of the latter part of the 1 7th century ; 
 No. ii. belonged to the i8th century ; No. iii. to the first half of the 
 19th. All show a remarkable purity of metal, particularly as regards 
 freedom from sulphur, in which respect these Japanese irons excel all 
 e.xamples of Western origin. The specific gravity is high ; the 
 hardness is low. No. ii. being comparable in this character with 
 rolled platinum ; the hardness of No. i. is but that of fluor spar, 
 while a good English razor-steel, referred to the same scale, has a 
 
XXVI. 
 
 hardness of 60°. These iron guards can all be cut with a penknife ; 
 it is therefore a mistake to speak of them as if they were made of 
 hard steel. The remarkable purity of the metal is attributable to 
 the special ore and to the special fuel used in smelting it ; the fuel 
 was wood charcoal ; the ore, magnetic oxide of iron. The reduction 
 of the ore was conducted after what is known in Europe as the 
 " Catalan " method, and on a small scale. The reduced metal 
 obtained was repeatedly heated and hammered to remove the 
 enclosed and admixed slag. When neither pierced nor encrusted 
 it is highly sonorous, as shown by the guards of Umetada, Miochin 
 and Kinai. There exist, amongst tsuba, a good many specimens 
 For examples, showing a wavy or stringy texture, arising from the welding and 
 
 see- 
 
 Case I. (i) 39, twisting together of two kinds of iron. The watered appearance 
 
 thus produced is familiar to Europeans as characteristic of old 
 
 Damascus blades. In some tsuba, the differing aspects of the v ■ 
 
 For an example, associated metals was further accentuated by means of treatment 
 
 see — ■ 
 Case III. (5) 8. with an acid, whereby one of them became more deeply eroded cr 
 
 etched than the other. Illustrative examples of the various kinds of 
 
 metal and of patina which have been described in the preceding 
 
 pages will be found in Cases I., II. and III. £ 
 
 Guards were occasionally made of bone, ivory, leather, wood, 
 
 and papier mach6 — the three last-named materials being usually. 
 
 lacquered. Amongst the specimens contributed to the Exhibiticai 
 
 Case I. (6) 6. by Mr. E. Gilbertson, there is a tortoise-shell tsuba, ornamented with 
 
 gold lacquer. 
 
 Tsuba : their Decoration. — The chief processes employed 
 
 in the ornamentation of guards and of the other sword accessories 
 
 may be summarised thus : — 
 
 Hammer-marking. 
 
 Cold-punching. 
 
 Etching. 
 
 Chasing. 
 
XXVII. 
 
 Saw- and file-cutting. 
 
 Flat inlaying with various metals, with mother-of-pearl, 
 
 with lacquer. 
 
 Encrusting with various metals, and with other materials, 
 
 such as ivory, agate, coral, and mother-of-pearl. 
 
 Associating together several metals so as to produce 
 
 stratified and mottled appearances. 
 
 Enamelling. 
 
 To these processes must be added the various methods in use 
 
 by Japanese craftsmen to produce surface colorations and effects 
 
 upon metals. These have been already described. One such 
 
 process has however not been recorded hitherto, namely that by 
 
 which a lustrous black coating of the magnetic oxide of iron was Sec Case I. (i) 58. 
 
 Case III. (5) 7. 
 formed. This was produced by heating the iron object with a 
 
 limited supply of air in the presence of water-vapour and of the 
 products of the imperfect combustion of vegetable matter. The 
 dark and glossy patina thus produced has generally resisted the 
 destructive influence of moisture, so that after the lapse of a century 
 or more the surface remains intact, as in many of the guards made 
 by Kinai of Echizen. 
 
 It is not necessary to say much concerning those five processes 
 of decoration which are included under the headings "hammer- 
 marking," "cold-punching," "etching," "chasing," and " saw- and 
 file-cutting." It may, however, be of some interest to note certain 
 peculiarities in the use made by Japanese artificers of some of these 
 methods. Thus the marks made by the blows of the hammer are 
 not (as in European hammered work) usually arranged after a 
 fashion of careless symmetry, but are grouped together and 
 accentuated in a few places after what seems a quite capricious 
 manner. In the same way the designs on the punch-marked 
 guards are rarely impressed completely or distributed regularly. 
 So if the punch happens to bear the design of a cherry-blossom, 
 
XXVJll. 
 
 some of the Impressions will be shallow, some will be of the full 
 
 depth, some will represent the whole figure, and some a part 
 
 only. Although the use of acids for developing into unequal 
 
 relief the twists and foldings of wrought iron was, as we have seen, 
 
 not infrequently adopted, the etching of definite patterns by this 
 
 method was rarely practised. A single example of irregularly etched 
 
 bronze is shown in Case III. (5) lo. It should be remarked that 
 
 nearly the whole of what appears to be engraved work on guards, 
 
 kozuka, &c., is really accomplished, however fine the lines and 
 
 however free the curves, by means of repeated blows with a 
 
 fine chisel. The exceedingly narrow saw-cuts through the substance 
 
 of some guards are noteworthy ; they are often too fine to admit of 
 
 the passage through them of a slip of ordinary writing paper. It is 
 
 hard to understand how the hole for the first entrance of the 
 
 saw could have been drilled, and how the perfection of the edges 
 
 of the cut could have been maintained throughout the operations. 
 
 The several kinds of inlaying and encrusting met with on 
 
 tsuba may be conveniently designated by the three Italian terms — 
 
 An example of Intarsia, Damaschina, Azziminia. The first of these expressions 
 
 Intarsia, is— may be used to signify the method of flat-inlaying, by which a 
 
 , ^' ..' cavity of some depth excavated in the metallic base is filled by a 
 of Damaschina — •' ^ ^ 
 
 Case I. (1)40; piece of another metal hammered into place and subsequently 
 
 of Azziminia — i n n 1 1 • • r • 
 
 Case I. (t) 16. ground fiat. By damaschma is meant a process of mcrustation 
 
 in which the metallic sheet or foil is fixed in its place by being 
 
 driven into a groove which has been cut in the metal to be 
 
 decorated, and which follows the contour of the ornamental design ; 
 
 not only gold and silver and the several copper alloys before 
 
 described, but even iron itself were treated by this method of 
 
 damascening. The method of encrusting metals known as azziminia 
 
 may, perhaps, be spoken of as on-laying. The surface to be 
 
 decorated is made rough like a fine file or rasp, the rows of 
 
 alternate furrows and ridges generally taking the form of cross- 
 
XXIX. 
 
 and XV. 
 
 hatchings. The leaf or foil of gold, or silver, is laid upon the 
 
 prepared surface and fixed by percussion or friction. Another 
 
 method of metallic in-laying was occasionally adopted for the 
 
 decoration of iron guards by melting white bronze (speculum-metal) 
 
 into the depressions which formed the ornamental design ; the 
 
 whole surface was then ground flat and polished. Two examples of 
 
 this peculiar process are exhibited. 
 
 It will be necessary to devote some space to the consideration For examples, see 
 
 small Case, be- 
 of that curious and thoroughly Japanese method of associating tween Cases VI. 
 
 together two or more metals, which usually goes under the native 
 
 name mokume, although this word is employed by Western writers 
 
 on art-workmanship in a sense which is too comprehensive and does 
 
 not exactly correspond to its true meaning — "wood-grain." Mokume 
 
 may be better understood by assuming that we are dealing with a 
 
 material more tractable than metal : clay may be taken for the 
 
 purpose of illustration. Suppose that we have at our disposal three 
 
 slabs of moist plastic clay, one of them being white, another grey, 
 
 and the third red. We begin by rolling these slabs into sheets of a 
 
 uniform thickness of ^ of an inch. We then unite them into 
 
 a single piece of three layers, the white layer being at the top, the 
 
 grey in the middle, and the red at the bottom. Now let us take a 
 
 piece of wood into which have been inserted a number of oval-headed 
 
 studs, varying in height from i to | of an inch. Press the composite 
 
 clay slab down upon the studs, and cut off by means of a knife or 
 
 fine wire the protuberances produced on the upper surface of the 
 
 slab. The summits of the highest studs will be found to have 
 
 brought up the red layer to the top so as to form the central portion 
 
 of an oval pattern ; this centre will be surrounded by an oval ring of 
 
 grey, and this, again, by the general surface of white clay. The studs 
 
 of smaller elevation than | of an inch will cause the protrusion of the 
 
 layer of grey clay forming oval rings varying in breadth and surrounded 
 
 by white. It is easy to see how the breadth of the red tracts and of 
 
XXX. 
 
 the gray annul! may be modified, and how very many different 
 shapes may be produced by varying the elevations and the contours 
 of the studs. Now these picturesque mottlings the Japanese crafts- 
 men obtained often in the way just described, but using sheets of 
 variously coloured metals welded or soldered together. Sometimes 
 they employed copper, shibuichi, and silver, sometines they used 
 two metals only, sometimes they added gold, sometimes shakudo. 
 Occasionally they adopted the plan of cutting out grooves of different 
 depths and shapes in the composite metallic plate and then flattening 
 it by means of a hammer. Of the specimens called " mokume " in 
 the collection, many are made of metals associated together in layers 
 but not worked so as to represent the grain or figuring of wood. 
 
 See Case III. (5) Some examples show curved V-shaped grooves cut nearly half-way 
 II, )2, 15. 
 
 through the compound plate and alternate layers on their sloping 
 
 sides: these imitate guri lacquer. One of the guards shown is a 
 
 See Case III. (5) notable example of fine workmanship of a rather different kind, the 
 14. 
 
 associated metals being let into a piece of bronze, and representing 
 
 various chequered patterns which remind one of our own 
 
 Tunbridge ware. 
 
 The method of decorating guards and other sword accessories 
 
 by means of enamel remains to be noticed. The processes of 
 
 For Champleve cloisonne and champlevd were both employed. Translucid enamels 
 
 cnumGls see • " 
 Case I. ( i) 3, 37, O'^ ^ gc)ld ground, inlaid in iron, are stated to have been invented by 
 
 \ ) 9i i°- Donin, of the Hirata family, about the year 1600; he died in 1646. 
 
 See Case I. (1)41. One specimen shown is a fine tsuba signed Hirata, and which may 
 
 For Cloisonnd be safely attributed to Donin. The earliest champleve enamels are 
 
 enamels, see — 
 Case I. (i) 41, (6) usually of a clear or dull green colour, and rather rough in 
 
 Ca e'lll fi')o 10 appearance. Somewhat later on appeared a kind of enamelled 
 
 (^) '5 work in which much of the metallic groundwork of gilt bronze 
 
 is shown, and in which the individual patches of enamel are often 
 
 varied in hue so as to approximate in appearance to painted work. 
 
 Those cloisonne enamels, in which the ground is wholly concealed 
 
XXXI. 
 
 save for the cloisons, belong to the i8th century. The ground See Case I. (6) 12. 
 
 colour of these specimens is usually turquoise blue, and the designs 
 
 conventionalised flowers. 
 
 We have not attempted to describe those processes of 
 
 obtaining reliefs in metal which are comprised in the terms 
 
 repousse and chasing. The latter method was carried to great 
 
 perfection, and extensively employed by the makers of sword 
 
 furniture. Sometimes the work called intaglio-rilevato is found 
 
 upon tsuba, kozuka, &c., and shows a singularly restrained beauty. 
 
 The outlines are in intaglio, the designs themselves in a relief so 
 
 low that its highest level does not extend beyond that of the general 
 
 surface of the object. An altogether exceptional method of 
 
 decoration is afforded by one of the tsuba in the Exhibition. It See Case I. (1)65, 
 
 CaseII.(8)5,and 
 is covered with globules of silver irregularly scattered on a convex Case III. (2) 26. 
 
 iron surface. This piece is the companion guard to one figured 
 
 by M. Gonse, and stated to be the work of Nobuiye, and to belong 
 
 to the early part of the i6th century. It is undoubtedly less 
 
 ancient by more than 200 years, having been made by Toshihiro, 
 
 a retainer of the Daimyo of Sakura, about 1746, or possibly a 
 
 little later. Mr. Gilbertson has a kozuka and four fuchi-kashira 
 
 similarly decorated. Small lumps of silver have been hammered 
 
 on to the roughened parts of the iron, and then the whole object 
 
 has been heated to the melting point of silver in a muffle. The 
 
 signature shows signs of having been subjected to the high 
 
 temperature required to effect the fusion of the silver. 
 
 Tsuba: the Designs and Subjects they bear or their 
 
 Decorative Motives. — These are innumerable, and it would be an 
 
 impossible task to describe them, unless we were prepared to give a 
 
 synopsis of the major part of the traditions, the wars, internal and 
 
 external, the folk-lore, the mythology, and the domestic manners 
 
 and customs of the Japanese. And the story would still remain 
 
 imperfect did it omit an account of the foreign elements and 
 
xxxu. 
 
 influences in the development of the native art, together with many 
 particulars as to the scenery, the fauna and flora of the country, and 
 as to the immense variety of geometrical and highly conventionalised 
 ornamental motives employed by Japanese artists in metal. All 
 that is practicable on the present occasion is to refer visitors 
 to the Exhibition to those books which are named in the 
 Bibliographical Notes, especially to the privately printed Catalogue 
 of Mr. E. Gilbertson's collection, to Mr. S. Bing's " Artistic 
 Japan," Mr, M. B. Huish's " Art of Japan," and the works of 
 Messrs. Anderson, Brinckmann and Gonse. On the subjects of 
 Japanese Heraldry and Geometrical Ornaments, the numerous 
 small and cheap native pattern-books may be usefully consulted. 
 As to one class of decorative motives — those borrowed from the 
 vegetable kingdom — it is by no means an easy matter to gather 
 complete information from any of the works we have named, the 
 precise identification of the many plants represented on the metal 
 accessories of the sword not having attracted the attention it 
 deserves. On this account a list is given (in an Appendix) of the 
 systematic names of a number of plants which the amateur of 
 tsuba, kozuka and fuchi-kashira, is not unlikely to encounter, and 
 some of which are exceedingly common. 
 
 Tsuba : their Styles and Classification. — The difficulty of 
 arranging sword-guards in a really satisfactory manner is extreme. 
 A few well established dates of famous swords and famous metal 
 chasers are, it is true, available, but our " critical apparatus " is, after 
 all, quite inadequate for the purposes of an exhaustive classification. 
 We are frequently perplexed by serious discrepancies ; reading in 
 one place, for instance, that it was not until the end of the 15th 
 century that the artistic sword-guard was introduced by Kaneiye, 
 while the same expert tells us that no less than 300 years earlier 
 the sword mounts of Yoshitsune were adorned with cranes and 
 pine trees in gold. We are almost forced to conclude that the 
 
XXXlll. 
 
 ancient swords on which this statement rests, and which have 
 
 survived to the present day, do not retain their original mounts, 
 
 particularly as there are extant authentic examples by such great 
 
 masters of the early i6th century as Nobuiye and Umetada, which are 
 
 acknowledged by all authorities to mark a great advance in artistic 
 
 merit over the works of their predecessors. But on the other hand, 
 
 Mr. Gilbertson has a guard signed by the ist Goto (YCijo), born 
 
 1440, died 15 1 2, which is elaborately ornamented in gold and silver 
 
 damascening on yellow bronze, and which must be deemed a highly 
 
 developed piece of workmanship, if it be really of the time of Yujo. 
 
 Those tsuba in the present Exhibition which can be assigned to a See Case II. (9) 
 
 period antecedent to the i6th century, are certainly far from elaborate 
 
 productions. Perhaps the oldest of them, considered by Mr. Hayashi 
 
 as earlier than the 1 5th' century, is a thin iron plate, pierced with 
 
 many square openings, and showing some remains of inlays of 
 
 bronze wire. Other early examples show scattered perforations in 
 
 the shape of plum or cherry flowers, others belong to the group of 
 
 skeleton guards, in which the parts left bear a very small proportion 
 
 to those cut away. Of these early guards, some exhibiting what 
 
 may be called the chrysanthemoid type, are characterised by See Case II. (9) 
 
 representing, by their perforations, 16, 24, 32 or even as many as > • • 
 
 64 florets of the chrysanthemum. To about the same period may 
 
 be assigned those other early skeleton guards in which are For an example of 
 
 these perforated 
 reproduced certain badges. In the latter part of the i6th century we guards, see— 
 
 first meet with the remarkable guards made under the influence of 
 
 the work of the Portuguese armourers, whom the Jesuits brought 
 
 to Japan. This origin of the designs in pierced tendril or 
 
 arabesque work quite detached and undercut in parts, suggested by 
 
 Mr. E. Gilbertson, is amply borne out by the careful examination of 
 
 many specimens executed in this curious style. In the early part of 
 
 the 1 6th century bronze incrustations in a rough style were often 
 
 applied to iron tsuba ; flat inlays of silver, copper and bronze, in floral 
 
XXXIV. 
 
 and leafy forms, in iron were also in vogue at this time. Somewhat 
 later, finer work in bronze inlaid in iron is found. Signatures very 
 rarely occur, so far as we have observed, on the guards hitherto 
 described in this account of early specimens, with the exception of a 
 few examples belonging to the groups we have just named as encrusted 
 with bronze or inlaid with that metal. 
 
 With the advent of the 1 7th century came a marked increase in 
 the number of tsuba makers who signed their productions, and a 
 greater prevalence of elaborate and finely finished work in the 
 various alloys of copper. Several of the best-known of the Schools 
 of sword-guard chasers arose in this century. Amongst these, 
 the Nara and Hirata Schools, and those of Soten, Yokoya, and 
 Shoami may be named. In the first half of the next century 
 the closely-allied Hamano and Omori Schools were founded, along 
 with many others, distinguished in the majority of instances by an 
 increased feeling for nature and the abandonment of academic 
 thraldom. During the course of these two centuries (the 17th and 
 1 8th) members of the Goto, Umetada and Miochin families continued 
 to sustain the honourable repute of their respective studios. Kinai, 
 who worked in the latter part of the 17 th century, and was allied 
 to the Miochin School, produced open-work guards of highly 
 sonorous pure iron, which, in design and surface modelling, have not 
 been excelled. The Goto School degenerated greatly in the latter 
 part of the i8th century, producing work, showy and elaborate 
 indeed, but sadly lacking strength and vitality. However, in the 
 beginning of the present century, one of the Gotos, who had 
 assumed the name Ichijo, produced some excellent work. Several 
 fine tsuba bearing recent dates down to the year of the Restoration 
 (1868) are exhibited. It must be remembered that in the 17th and 
 1 8th centuries there were produced, from time to time, reproductions 
 of archaic designs and styles. 
 
 As Japanese experts do not agree as to the number and rank 
 
XXXV. 
 
 of the Schools of tsuba makers, and as we have no complete data 
 for assigning anything like the majority of these artists in metal to 
 the forty or fifty Schools which have been named, it seems better to 
 leave any systematic classification of tsuba makers unattempted for 
 the present. That the task is a serious one may be gathered from 
 the fact that in addition to the thousand or more of these artists who 
 are represented by signed specimens in the private collections of 
 England — Mr. Gilbertson has over 500 different signatures — there 
 are probably at least as many workers whose productions were 
 anonymous. We have contented ourselves with drawing up an 
 alphabetical list of the names which occur on the select series of 
 260 guards which are shown in the Exhibition. Of a considerable 
 number of the tsuba, as well as of a fine series of fuchi-kashira, 
 sufficient descriptions are given in the Catalogue itself: it was 
 found impracticable to describe the kozuka individually, through lack 
 of space. 
 
 The examples of sword furniture shown afford an adequate 
 expression of the metallurgical skill, the fertility in design, the 
 ingenuity in adaptation, the certainty of hand, the originality, the 
 boldness and the finish which are characteristic of the best Japanese 
 craftsmen : in these little works of art they are really great. In 
 their employment of variously-coloured metals they stand alone. 
 
 We ought to have mentioned before that the metal furnishings 
 of a sword not infrequently correspond in design, or tell, in successive 
 chapters, as it were, the several parts of a custom or a story. 
 Sometimes we find one of the mon or badges of a feudal chief on 
 the scabbard of his sword, another on the fuchi, and a third 
 mon on the kashira : sometimes the same badge is scattered over 
 every portion of the mountings. 
 
 A. H. CHURCH. 
 
J 1 It n in » I n II 11 > I » ' "■ " I ' '«- 
 
 w^ffm 
 
 " ■■ ■■ ■ " " ■'' 
 
 LACQUER. 
 
 I. 
 
 [LTHOUGH Japanese lacquer work has always been held 
 in high estimation, until the latter half of the present 
 century Europe had, in reality, no knowledge either of 
 any perfect specimens, or of the amazing variety of styles of the 
 more famous masters. It is very doubtful even whether among 
 connoisseurs there was any clear idea as to the difference between 
 Chinese and Japanese lacquer work. We can hardly be surprised 
 that many people assumed, and still assume, that because the 
 Japanese derived so many of their arts from China and Corea, 
 lacquer working was among them. Rein, in his Industries of Japan, 
 expresses his belief that the Japanese derived both the lacquer tree 
 and the art of lacquering, from their western neighbours about the 
 commencement of the 3rd century, or after their first expedition 
 to Corea. 
 
 But the only evidence he brings in support of his opinion is a 
 statement that the Rhus vernicifera (the lacquer tree) has not been 
 found growing wild anywhere in Japan, and that the methods and 
 utensils used there are precisely the same as those which have been 
 used for centuries in China. It would have been much more to the 
 purpose had he quoted some piece of Chinese lacquer as early in 
 date as the best authenticated examples, undoubtedly of native 
 work, existing in Japan, or even pieces of Chinese lacquer of more 
 recent date, comparable with Japanese work. It is not easy to 
 understand why the Japanese, readily admitting their obligations to 
 China and Corea for their literature, painting, sculpture, pottery, &c.. 
 
XXXVlll. 
 
 should put forward unfounded pretensions to this one art. It is 
 true, as he says, that Japanese history before the Christian era is of 
 doubtful authenticity as to many details, but is that of China any 
 more trustworthy? A large portion of the marvellous legends 
 accepted by Japanese annalists are of Chinese origin. 
 
 Japanese authors maintain that lacquer work is a native 
 industry, developed and perfected by them, and although they 
 admit their indebtedness to China for carved lacquer and some 
 other varieties, they claim to have instructed the Chinese in the 
 making of gold picture lacquer. For while, in that branch of the 
 art, the Chinese have never exhibited any remarkable skill, the 
 Japanese have from the outset improved on the. style of that which 
 they derived from China. And although the quality of the Chinese 
 red lacquer, and the manual dexterity shown in its carving, can 
 hardly be surpassed, the Japanese pieces are in most cases easily 
 distinguished from the Chinese work by the absence of the dr)', 
 formal and inartistic style of treatment, which characterises the 
 latter. 
 
 Unfortunately, the information available in connection with the 
 history of lacquer work in any European language is very meagre. 
 The section on lacquer in " Le Japon a I'Exposition de 1878," a 
 Japanese official report, although often quoted, is very untrustworthy 
 and incorrect. It is there stated that, in a nezv historical work, 
 about B.C. 180, mention is made of lacquered furniture used in the 
 palace. This would be highly important and very interesting if we 
 could feel at all certain that any historical work, old or new, existed 
 at that period, or even if we knew the tide of the book referred to. 
 
 We are next told that, at the end of the year 380, the Sadaijin 
 Shihei, in a work called Engiskiki, speaks of gold lacquer and of 
 red lacquer. But, in another section of the same volume, we find 
 that the office and title of Sadaijin were not created until about 
 260 years later, in the reign of the Emperor Kotoku (645-654). 
 
XXXIX. 
 
 We also find that the Engishiki^ a work in fifty volumes, was 
 written by Fujiwara Tadahira between 898 and 930, instead of by 
 Shihei in 380. The author adds that, about the year 410, "eighty 
 years later" (it is only ^6) Minamoto no Juin speaks of gold 
 lacquer and nashiji lacquer in a work called Utsubo Monogatari, 
 and he quotes the Genji Monogatari, but makes the authoress, 
 Murasaki Shikibu, live about 500 years before her real date, 
 so that little use can be made of this work despite its official 
 character. 
 
 A short work by a member of the Igarashi family, the 
 celebrated lacquerers to the Shoguns, was translated for the 
 Philadelphia Exhibition, but it contains little that throws any 
 light on the subject beyond a description of the processes in 
 lacquering. 
 
 The most copious source of information is still Mr. John 
 J. Ouin's paper in the " Transactions of the Asiatic Society of 
 Japan," vol. 9.* The statement that during the reign of the 
 Emperor Koan (b.c. 392-291), Mitsune no Sukune was made 
 director of the lacquer department may be reasonably disputed, 
 more especially as we find elsewhere that Prince O-usu (Yamato- 
 dake), between 71 and 150, discovered the Rhus vernicifera 
 growing wild, ordered lacquered goods to be made, and created 
 Tokohiwa no Sukune, nuri-be, or director of lacquer work. Quin, 
 however, states that the Emperor Kotoku {645-654) altered the 
 
 • The substance of this paper was issued in 1882 as an Official Report, entitled 
 " Report by H.M.'s Acting Consul at Hakodate, on the Lacquer Industry of Japan." 
 This document is dated 13th January, 1882. It was accompanied by a long series of 
 specimens illustrating the materials, the apparatus, and the processes employed by 
 Japanese Lacquerers. There are also in Mr. Quin's collection a few examples of old 
 lacquer ranging in age from 50 to 130 years, as well as a number of specimens 
 exhibiting the sequence of the numerous stages through which a single piece of the 
 ware has to pass before it can be regarded as completely finished. For the last eleven 
 years the entire collection has been exhibited in Museum No. I. in the Royal Gardens 
 at Kew. 
 
xl. 
 
 title of the director created by Koan to urushi-be no muraji, 
 having the same signification. 
 
 Although these statements are very vague, and somewhat 
 contradictory, it can hardly be doubted that art lacquer work in 
 Japan dates from a very early period. In the temple of Todaiji, at 
 Nara, there are two lacquer boxes for containing the sacred writings, 
 undoubtedly of Japanese make, and attributed to the 3rd century 
 of our era. The earliest authenticated examples of Japanese 
 lacquer are those preserved in the Shoso-in, belonging to Todaiji, 
 at Nara, one being the Kesa-bako, or scarf box, of Shotoku Taishi, 
 who died in 621 ; the other, the scabbard of a sword, which 
 belonged to the Emperor Shomu (724-748), it being quite certain 
 that these are of Japanese make. There seems to be no example, 
 no record even, of any art lacquer of that age in China, and this is 
 a strong argument in favour of the art being of Japanese origin. 
 
 It is curious that Quin describes the Kesa-bako as being of 
 gold lacquer, and the scabbard as having figures of birds, animals, 
 flowers and plants, in angular gold dust on a black lacquer ground, 
 while Rein says that both are of simple black lacquer. Now, both 
 these men wrote in Japan itself, both held official positions, and 
 both were making a special study of lacquer ; and yet their 
 descriptions are utterly irreconcilable. 
 
 Red lacquer seems to have been known as early as the time of 
 the Emperor Temmu (673-686), for it is recorded that a workman 
 made a set of shelves of red lacquer for him. Under the Emperor 
 Mommu (697-707) there were twenty official lacquerers, who were 
 bound to sign all articles made by them, and Quin says that the 
 government prohibited the making of lacquer except by those 
 workmen. Probably that prohibition only extended to certain 
 articles. He also says, that in the reign of the Emperor Shomu 
 (724-748), five different coloured lacquers were used, as well as 
 inlaying with mother-of-pearl. Gold, silver, copper and leather 
 
xli. 
 
 were also lacquered, and powdered gold mixed with lacquer was 
 applied ; this, he adds, was the origin of makiye, or picture lacquer. 
 In the Genji Monogatari, written about 980, the authoress, 
 Murasaki Shikibu, speaks of a " new kind of lacquer incrusted with 
 mother-of-pearl," but we have seen that it is stated to have been so 
 employed 240 years earlier, in the reign of the Emperor ShOmu, 
 It was apparently in the reign of the Emperor Kwazan, about 985, 
 that the makiye, or picture lacquer, with landscapes, figures and 
 animals in gold, was produced, and it was then that the okiguchi, or 
 bordering, of silver, tin, or lead, was added to the articles made for 
 him. Gold lacquer was largely employed at that period, even sword 
 scabbards being decorated with it. 
 
 During the reign of the Emperor Konoye (1142-1156), inlaying 
 of coloured glass, as well as of mother-of-pearl, seems to have been 
 used, and the nashiji, or aventurine lacquer, was very rich in gold, a 
 specimen quoted in the Kogei Shiryo having from 28 to 69 
 pennyweights of gold to the square foot. 
 
 During the reign of the Emperor Takakura (1169-1180), gold 
 lacquering was profusely used, ver)' excellent work being produced 
 during the latter part of the 12th century. In the temple of 
 Itsukushima there is a box of black lacquer with cranes and pine 
 branches in gold, of very fine workmanship and style; it held the 
 dress of the child Emperor Antoku, who was drowned at the battle 
 of Dan-no-ura in 1185. In the temple of Hachiman, Kamakura, 
 also, there are several pieces of lacquer dating from the end of the 
 1 2th to the beginning of the 14th centuries, remarkable for their 
 good taste and quality, among them, a stizuri-bako, or writing box, 
 of nashiji, with chrysanthemums by a fence, in gold ; this subject, 
 with or without birds and butterflies, seems to have been a favourite 
 decoration of that period. 
 
 When the Bakufu, or government by the Shoguns, was 
 established, after 1185, they made Kamakura their capital, and 
 
xlii. 
 
 encouraged lacquerers to settle there, Kioto, the residence of the 
 Emperor, having hitherto been the head-quarters of the art. But 
 the lacquer of Kamakura never reached the same pitch of excellence 
 as that of Kioto. During the stormy period which marked the rule 
 of the Hojo family, between 1199 and 1333, the lacquer industry 
 seems to have languished, but the art received a fresh impulse when 
 the Ashikaga Shoguns came into power in 1335. It was about the 
 middle of the 14th century that the taka-makiye, or raised gold 
 lacquer, seems to have been introduced, although Kurokawa Mayori 
 looks upon its origin as being rather the thick powdering with gold, 
 used some hundreds of years earlier. 
 
 Under the eighth Ashikaga Shogun, Yoshimasa ( 1449-147 1), 
 landscapes, figures, flowers, &c., in taka-makiye, as well as in 
 hira-makiye, or flat gold lacquer, were largely introduced. Yoshimasa 
 also ordered lacquerers, among whom Koami Michinaga, 
 Michikiyo and Igarashi distinguished themselves, to make letter- 
 boxes specially for him of nashiji-hita-makiye, that is, with 
 aventurine ground carried over the whole surface. It was this 
 second artist who made the objects by order of the Shogun for 
 the Emperor Go-tsuchimikado on his accession. It was in that 
 Emperor's reign (1465-1500) that Monnyu, a lacquerer, made 
 tsuishu and tsuikoku, carved red and carved black lacquers, after 
 Chinese examples, and in the preceding reign (Go-hanazono, 1428- 
 1464) that the Japanese lacquerers taught the Chinese the art 
 of making gold picture lacquer. 
 
 From this period to the time of the Tokugawa Shoguns in 
 1603, lacquer working seems to have declined, for they were 
 troublous years, but the long peace which followed the accession 
 of lyeyasu to power favoured the revival of the arts. 
 
 Among the celebrated works of the 17th century is the 
 memorial shrine of the Shogun Hidetada, at the temple Zojoji, in 
 the Shiba public gardens, and magnificent pieces of furniture 
 
xliii. 
 
 made for the Shogun lyemitsu (1623-1649) by Koami Nagashige, 
 which are represented in the 8th number of the Kokkwa, a Japanese 
 Art Journal pubHshed at Tokio. But it was at the end of the 
 1 7th and at the beginning of the 1 8th century that lacquer working 
 is considered to have reached its greatest perfection. The lacquer 
 ware of that period is known as Joken-in Jidai, Joken-in being 
 .the posthumous name of the Shogun Tokugawa Tsunayoshi (1681- 
 1708). 
 
 The earliest name of a lacquerer that we find recorded is that 
 of Kiyohara Norisuye, about 11 69, and about 1429 the Igarashi and 
 Koami families appear as Court lacquerers, retaining that position 
 for a very considerable period. But their names and works are 
 known to few Europeans, the first names familiar to us being those 
 of Kajikawa Hikobei, the master of Kajikawa Kiujiro, about 1637, 
 and of Hon-ami Koyetsu (1558-1637). The general use of inros Case IX., 35. 
 as a part of the costume, opened a new field to lacquerers, and 
 it is on those beautiful specimens of their art that signatures 
 are most frequent. Koyetsu seldom signed inros, and specimens of 
 his work are rare in Europe. His pupil, Tsuchida Soyetsu, is, 
 however, better and more favourably known to us, his inros being Case IX., 36-39. 
 frequently signed. The black lacquer of Soyetsu has in many cases 
 acquired a deep, rich brown tone by age, the black having probably 
 been originally due to acetate of iron, while that of Koma and 
 Kajikawa preserves its intense velvety colour unchanged. There 
 is a long and brilliant list of these inro makers, many of whom also 
 made larger pieces of lacquer, which were, however, more rarely 
 signed. There was no falling off in the quality of the work until 
 well into the 19th century, more especially as regards small pieces. 
 These were equal to the best work of the best period, for the artists 
 profited by the advance in pictorial art, emancipating themselves to 
 a great extent from the more objectionable features of the ancient 
 Chinese school, while retaining its best qualities. 
 
xliv. 
 
 The following are some of the more familiar names of 
 lacquerers, extracted from the Kogei Shiryo, the Shoken Kisho, &c., 
 omitting those less known. The first, and best known name, is that 
 of Kajikawa Kiujiro, about 1680, the founder of the Kajikawa 
 family of lacquerers, which stretched into the 19th century. He 
 was a pupil of Kajikawa Hikobei, and was noted for the high finish 
 of his work, and for his gyobu and nashiji lacquers, the rich effect of 
 which in the linings of his inros are familiar to all collectors. But 
 although we find the signatures of several Kajikawas, Hidetaka, 
 Hisataka, Hogetsu, Takafusa, Tsunesada, &c., upon inros, none of 
 these names is to be found in the lists quoted above. 
 
 The next prominent name is that of Koma Kiuhaku. He is 
 regarded as the founder of the Koma family of lacquerers, although 
 Koma Kiui, who died in 1633, was lacquerer to the Court. Koma 
 Kiuhaku, who died in 1715, is, as are also his successors, chiefly 
 Case XL, 1-9. known to us by his inros, perfect specimens of lacquer, and in a 
 great variety of styles. The Koma family frequently used gold, 
 red, or plain black for the linings of their inros instead of nashiji, a 
 fashion adopted by many of their followers. 
 
 Koma Kiuzo, afterwards called Kiuhaku, died in 1715, and his 
 son, Koma Kiuzo the second, who also took the name of Kiuhaku, 
 died in 1733. A third Kiuzo, also taking the name of Kiuhaku, 
 died in 1794, all three being Court lacquerers, as were others of the 
 Case XL, 16, 17. Koma family. Koma Kioriu, according to one account, was the 
 adopted son of Koma Kiuhaku, but Zeshin, in his genealogy of 
 the Komas, says that he was a pupil of Koma Kiuzo, the fifth 
 Koma, who took afterwards the name Kiuhaku, and this is 
 doubtless the correct statement. His original name was Kimura 
 Shichiyemon, and his master, Kiuhaku, allowed him to assume the 
 name of Koma. 
 Case XL, 19, 20. Koma Kwansai, whose works are well known and highly 
 
 esteemed, was a pupil of Kioriu, and like him was not a Koma by 
 
Special igybibitions belt> at tbe Burlington fine Hrts Club. 
 
 1868 f Engravings by Marc Antonio Raimondi. 
 (^ Oriental Porcelain. 
 
 /'Engravings by Albert Diirer and Lucas van 
 
 1869 < Leyden. 
 
 C Oriental Art and Manufactures. 
 
 1870 y Original Drawings by Raphael Sanzio and 
 (^ Michel Angelo Buonarroti. 
 
 /' Pictures by Old Masters. 
 
 1871 -j Drawings in Water Colours by deceased English 
 (. Artists, bom anterior to 1 8oo. 
 
 r Turner's Liber Studiorura. 
 
 3 Drawings and Etchings by Claude. 
 
 j Drawings by William Miiller. 
 
 V. Pictures by George Mason, A.R.A. 
 
 (' English and Continental Porcelain. 
 
 1873 ■] Drawings and Sketches by David Cox and 
 (. Peter de AVint. 
 
 1874 Illuminated Manuscripts. 
 
 ( Selection from the work of Wenceslaus Hollar. 
 
 1875 < The works of Thomas Girtin. 
 (. Japanese Lacquer Ware. 
 
 1876 y Artistic Painted Glass. 
 
 (. The works of William Blake. 
 
 r The Etched Work of Rembrandt. 
 
 1877 ] The works of Hans Sebald Beham and Barthel 
 (. Beham. 
 
 r Collected works of John Samuel Raven. 
 
 1878 < Drawings by Dutch Masters. 
 
 (^ Japanese and Chinese Works of Art 
 
 1879 
 
 ( Bronzes and Ivories of European Origin. 
 (. Selection from the work of Charles M^ryon. 
 
 1880 y Drawings in Water Colours by deceased English 
 \ Artists, bom subsequent to i8oo. 
 
 1881 
 1882 
 
 1883 
 
 Engravings in Mezzotinto. 
 
 C W 
 
 oodcuts of the German School of the Fif- 
 teenth and Sixteenth Centuries. 
 
 /'Pictures and Drawings by Dante Gabriel 
 \ Rossetti. 
 
 1 Etchings by Renier Zeeman and Karel Du 
 V. Jardin. 
 
 1884 y Drawings of Architectural Subjects by deceased 
 \ British Artists. 
 
 1885 Persian and Arab Art. 
 
 /" The works of James McArdell. 
 
 1886 ] Some of Turner's Liber Studiorum Plates. 
 (. Illuminations from French MSS. 
 
 1887 Hispano-Moresque and Majolica Pottery. 
 
 r Japanese Engraving. 
 
 1888 < CJreek Ceramic Art. 
 
 V. Drawings by John Sell Cotman. 
 
 1889 
 1890 
 1891 
 
 1892 
 
 Portrait Miniatures. 
 
 Drawings by Spencer Vincent. 
 
 ( French Revival of Etching. 
 (^ Bookbindings. 
 
 (^ Pictures by Masters of the Netherlandish and 
 allied Schools of the XV. and early XVI. 
 Centuries. 
 
 1893 The work of Luca Signorelli and his School. 
 
 ^■B.~Surplus Copies of the Catalogues of the above Exhibitions, with a few exceptions, still remain (including some 
 Illustrated Editions), and may be obtained, by Members of the Club only, at prices which can be ascertained 
 OH application to the Secretary, Mr. John Beavan. 
 
xlv. 
 
 birth, his original name being Sakanouchi Jubei. Koma Kioriu 
 
 allowed him to take the name of Koma, and he it was who revived 
 
 the renown and the great traditions of the Koma family, which had 
 
 fallen somewhat into abeyance. Besides being an eminent lacquerer, 
 
 he was a writer of comic poems, and died in 1835. The eldest son 
 
 of Koma Kwansai, who bore the same name as his father, and 
 
 who died in 1792, was also called originally Sakanouchi Jubei. 
 
 The second son, Koma Bunsai, was a very skilful lacquerer and Case XI., 21, 22. 
 
 inro maker. His black lacquer, both carved and plain, was very 
 
 fine, and he made a clever imitation of shippo (cloisonne enamel) 
 
 on black lacquer. Besides Koma Kwansai, there were two other 
 
 pupils of Koma Kioriu, Omura Gyokuzan, who died about 1789, 
 
 and Nomura Kyuho, an inro maker, who succeeded Nomura 
 
 Kyukei, at Yedo, about the same year ; the brother of Kyukei 
 
 was Nomura Chohei. 
 
 Besides those mentioned above, there are other members of 
 the Koma family whose signatures we find on inros, but not in 
 Zeshin's genealogy. Among them are Yasumasa and Yasutada,* 
 both men of the 19th century, the latter especially having executed Case XI., 11-15. 
 very remarkable work in togidashi. 
 
 Ogata Korin, who died in 17 16, holds a very prominent Case IX., 49, 50. 
 position among the lacquerers of the I7th-i8th centuries, as much, 
 perhaps, on account of the originality and eccentricity of his style, 
 as for the intrinsic merit of his work. Carrying, sometimes, his 
 impressionism so near the verge of caricature that it is difficult to 
 guess what object he really intends to represent, no one would 
 suppose that he was in reality an admirable artist, had they not 
 seen his drawings. His gold lacquer is deservedly famous for the 
 beauty of its tone, the gold powder being mixed with lacquer and 
 painted on. But we frequently find in his gold grounds minute 
 
 • One or more inrds in the Case XI., signed Koma Yasutada, would seem to 
 point to an artist of that name, living in the i8th century — see especially No. 43. 
 
xlvi. 
 
 specks of metallic gold, and although this has been cited as a 
 
 mode of distinguishing his work, that is an error, for we find 
 
 exactly the same character in some of the gold grounds of the 
 
 Komas, of Nagata Yuji, his professed imitator, about the middle 
 
 of the 1 8th century, and of other followers of Korin's style. His 
 
 mode of inlaying thick pieces of mother-of-pearl, lead, or pewter, 
 
 projecting considerably above the surface of the lacquer, is very 
 
 characteristic of his style. He also frequently cut the pieces of 
 
 mother-of-pearl into the shape of the object represented, instead 
 
 of forming it out of small pieces placed vertically side by side, as 
 
 was the practice in the 17th and iSth centuries. 
 
 Case X., 2-6. Ritsuo, or Ogawa Haritsu (1663-1747), was not only a 
 
 ■' ''^' lacquerer, but a carver, painter and potter, studying the two latter 
 also 
 
 Tray and plaque arts under Korin and his brother Kenzan, and introducing them all 
 on wall. at times into his work with great skill and effect. His productions 
 
 are very characteristic of his extraordinary life, full of eccentricities 
 and of disregard for all customary ideas and habits. His pieces are 
 very commonly signed Kwan, one of his names, on a small plaque of 
 pottery, and are held in high estimation. Having no son, he was 
 succeeded by his pupil Hanzan, a very skilful inro maker, whose 
 work is often incrusted with porcelain and mother-of-pearl shells and 
 fishes. We generally find his inros with black linings, the risers 
 decorated with chinkin-bori (engraving filled in with gold). He was 
 called Ume-no-ki Hanzan (Hanzan of the plum tree,) from a plum 
 tree in his garden at Asakusa, Yedo. Kyozan was a pupil of 
 Hanzan, following to a great extent the style of Ritsuo ; his proper 
 name was Sakai Chubei. 
 Case XII., 13-19. Shiomi Kohei Masanari (sometimes read Masazane), about 
 
 1687, is well-known for his inros in togidashi. The second Shiomi 
 was the son of a Harumasa and was called Kohei Masanari 
 according to the Shaken Kisho, but in the Makiye Daizen and 
 elsewhere he is called Shiomi Kohei Tomoharu. The works of 
 
xlvii. 
 
 both the Shiomi are very similar in character, and apparently have 
 the same signatures. 
 
 Yamamoto Shunsho appears to be the first of an eminent 
 and well-known family of lacquerers ; he was born in 1609 and 
 died in 1682, being followed by Yamamoto Tsuneteru (or Josho), 
 who flourished about 1688-1703. Kashiwagi Tomosuke Harutsugu, 
 formerly Shunsho Hachizayemon (i 702-1 770), was also a member CaseX., 38-4o(?). 
 of the family, but the most famous was Shunsho Jirobei, born 
 in 1734. Shunsho Matashiro, who died in 1831, aged 58, worked 
 in the same style as Jirobei, and both of them made inros, but 
 we rarely find the signatures of the Shunshos on inros, so that 
 it is difficult to decide which members of the family made them. 
 Their togidashi work is especially fine. 
 
 Yamada Joka was an eminent inro maker of the latter half Case XII., 22-25. 
 of the 1 8th century, and Kwanshosai Toyo, another and still 
 more eminent one. He sometimes signed Kwanshosai, at others Case XII., 3.1-40. 
 Toyo or Toyosai, and occasionally Kwanshosai Toyo ; he was 
 also called Genroku, and worked about 1763. Hara Yoyu.sai, Case XII. , 27. 
 another very skilful inro maker and lacquerer, worked at the 
 beginning of the present century, and one of the most familiar 
 names among the lacquerers of that period is Shokwa.sai. He Case XII., 55-57. 
 belongs to the Kajikawa school of lacquerers, and, like his 
 contemporary Kajikawas, worked frequently in conjunction with 
 Shibayama. Although the incrustation of lacquer was no new 
 thing, a great impulse was given to it by the appearance of 
 Shibayama (Dosho). In inros with figure subjects in taka-tuakiye, Case XX. B., 
 it became the fashion to introduce faces, feet and hands of carved 33-37- 
 ivory or metal, and these small heads by Shibayama are often 
 admirable in expression and execution. Clever incrustations in 
 metal of figure subjects belong to the same period, and have 
 been continued through the century. But incrustation with various Case XX. B., 20. 
 substances has been one of the characteristic features of late 
 
xlviii. 
 
 19th century lacquer work. It is impossible to deny the surprising 
 minuteness of detail, and the ingenuity exhibited by the practitioners 
 of this art, or, indeed, the beauty and rich effect of some of their 
 work. But it has been so generally recognised as belonging 
 rather to an exhibition of great mechanical skill than to art, that 
 the pieces are rarely, if ever, signed, and it has become, to a 
 certain extent, a manufacture. In most of these works the 
 lacquerer holds a very secondary position. 
 
 Komin is another of the earlier 19th century lacquerers, and 
 his pupil, Ogawa Shomin, was famous for his imitation of the work 
 Case I. (6), 5. of the old masters ; but perhaps the most remarkable lacquerer of 
 Case XII., 63,64. the present century was Shibata Zeshin, who died in 1891. Highly 
 C.aseXVIl.,19, 20. accomplished in every branch of his art, he adapted the style of 
 Case XX. B., 24. every eminent master to his own ideas, and produced work worthy 
 Two plaques on of being placed beside that of the most famous men. He was a 
 '*'*"• pupil of Koma Kwansai, and one of his pupils, Ikeda Taishin, is 
 
 still living. 
 
 As the 1 9th century advanced, fine lacquer work was produced 
 more and more rarely, the art reaching perhaps its lowest level about 
 the time of the opening of the ports and the appearance of lacquer 
 work at the European exhibitions. A demand for Japanese lacquer 
 was suddenly created, and a vast amount was made to supply the 
 demand. As has been already observed, an essential ingredient in 
 r.he making of good lacquer is time, an element necessarily over- 
 looked in this system of manufacture for commercial purposes. The 
 evil effect soon became manifest, for as the knowledge of fine lacquer 
 spread in the West, and examples of the old work found their way to 
 the hands of collectors, this inferior modern ware was discredited, 
 and the idea became, and still is, prevalent, that good modern 
 lacquer was an impossible thing. Men like Zeshin demonstrated 
 the error of that opinion, and efforts were, and are made, to revive 
 the production of good lacquer, although, as a rule, it still leaves 
 much to be desired. 
 
xlix. 
 
 The inferiority of much of the 19th century lacquer Is most 
 easily recognised by its relative softness and by its gold grounds. 
 In the old work these have the appearance of a surface of metal, 
 uniform in tone and texture, while the modern work will be found 
 most frequently with a clouded or mottled surface. This arises 
 sometimes from employing gold powder of an inferior quality, but 
 very often is the result of a hasty and imperfect preparation of the 
 underlying basis. 
 
 This preparatory ground is referred to hereafter, and is of the 
 greatest importance to the success of the work. It is usually done 
 by a special class of workmen, but in small pieces, inros, perfume 
 boxes, &c., the artist frequently executed the work himself, or it was 
 done in his own workshop or under his eyes, and therefore never 
 unduly hastened. It is very useful to compare the old and new gold 
 lacquer work, age, however, improving the tone of the former, the 
 effect of the old gold picture lacquer being remarkably rich and 
 satisfying. 
 
 In the eyes of the Japanese aristocracy and amateurs, fine 
 black lacquer was always held in very high esteem, either quite 
 plain, or sparingly decorated with gold. Certain styles of black 
 lacquer are, in fact, popularly known in Europe as daimyo lacquer, 
 and few persons are insensible to the charm of handling a fine 
 piece of black lacquer, while, to the eye, the rich velvety tone is 
 equally attractive. 
 
 The use of colour in picture lacquer, of logidashi work 
 particularly, was brought to the highest perfection in the i8th and 
 19th centuries, and we find, in the work of the Shunshos, the 
 Komas, and others of those schools, a thin film of exceedingly 
 fine gold or other metallic powder dusted over the finished painting Case XI., 8. 
 so skilfully that, seen by oblique light, the whole surface appears Case XII., 32. 
 to be of metal, almost or quite devoid of colour, while, if looked 
 at by reflected light, or with the object between the eye and the 
 
I. 
 
 source of light, the colours come out with great brilliancy. Among 
 
 Case XL, i, 2. these colours is a red, originating, it is said, with the Komas, of 
 
 peculiar richness, due, as is reported, to the admixture of a 
 
 preparation of gold with the vermilion. We find a similar process 
 
 used in connection with the taka-makiye work, or raised lacquer, 
 
 where a flower or bird, apparently of gold, proves to be coloured 
 
 when examined in another light. 
 
 The adoption of designs by the modern realistic painters gave 
 
 a great impulse to the togidashi style of lacquering, especially to 
 
 that into which colour enters largely, although we sometimes find, 
 
 in Shunsho's work for example, togidashi landscape executed in 
 
 gold and brown only, a style which has also been followed with 
 
 excellent effect by some of the Koma school. 
 
 Another clever variation of lacquer work, chiefly employed 
 
 Case XX. B, on inros, is that of making an Indian ink drawing, or a perfect 
 
 5^' ^°' imitation of it, on a gold ground. Toyo and others have produced 
 
 very striking examples of this work. An equally clever effect, due. 
 
 Plaques between it is said, to the employment of very finely powdered charcoal, is 
 
 Cases XVI. and produced by leaving a design unpolished, visible on the highly 
 XVII. ' ' ^ ,,.,.,. 
 
 polished black ground. To show this, the subject selected is most 
 
 Case XL, 13. frequently the Dream of Rosei, where the dream is represented 
 
 most effectively matt, on a polished black background. The 
 
 peculiarity of this work is that it is clearly not a dull substance 
 
 applied to a polished surface, but more like a depolishing, a process 
 
 which, from the minuteness of the details, appears to be impossible. 
 
 There is another, and very unsatisfactory, style of lacquering, an 
 
 outcome of the Tsugaru lacquer, in which lacquer is inlaid on 
 
 lacquer of various colours. It is done by graving out the pattern 
 
 on the coloured ground, filling in the cavity with lacquer of the 
 
 desired colour, and then rubbing it down until the pattern comes 
 
 out sharp and clear. 
 
li. 
 
 II. 
 
 Lacquer differs essentially from our European varnishes, which 
 are composed of gum resins dissolved in a medium, evaporating 
 easily, and leaving a solid transparent film. It is the sap of the 
 Rhus vernicifera, a species of sumach, and incisions are made in 
 the stems of the trees at certain periods of the year, from which the 
 sap exudes. The tirushi "lacquer," so gathered, is called ki-urushi, 
 while another kind, called seshime urushi or yeda urushi, " branch 
 lacquer," is obtained from detached branches by a different process. 
 These two lacquers vary greatly in character, the seshime requiring 
 about twenty days to dry and harden, but being very hard when 
 once dry, while the ki-urushi dries in twenty or thirty hours. 
 Seshime is consequently rarely used in the present day, except mixed 
 with other lacquers. There is also a considerable difference in the 
 lacquers derived from the various provinces, that of Yoshino, for 
 instance, being very transparent and drying quickly. 
 
 Crude lacquer is a greyish viscous liquid of a creamy consistence, 
 and is strained through linen in order to separate foreign matter 
 with which it has become mixed in collecting, and it is then exposed 
 in shallow wooden vessels, and frequently stirred to promote the 
 evaporation of a portion of the water it contains. The vessels are 
 inclined, so as to allow a broad thin stream to run down, exposing 
 a larger surface to the air, and during this process the lacquer 
 becomes of a dark brown. One remarkable property of the urushi 
 is that, if exposed to the sun for a few days, it becomes black, 
 although translucent in thin layers, and if used will not dry, even if 
 kept for a month in the drying cupboard. But if water be mixed 
 with it, it resumes its creamy colour, although somewhat darker, and 
 if the operation of stirring and evaporating be then applied, it again 
 becomes black and behaves like the ordinary lacquer. 
 
Hi. 
 
 Yoshino lacquer, according to Korschfeldt, is composed of- 
 Urushic acid ----- 85.15 
 Gum, similar to gum Arabic - - 3.15 
 
 A nitrogenous substance - - . 2.28 
 
 Water ------ g.42 
 
 100.00 
 
 One singular result of its chemical composition is that, except 
 with difficulty, it will only dry and harden in a damp atmosphere, 
 and within a certain range of temperature, i.e., between 80° and 68° 
 Fahr., while near the freezing point it will not harden at all. All 
 lacquer work is therefore placed to dry in wooden cupboards, kept 
 damp by wetting the shelves with water. There are, however, 
 additions made to the lacquer which hasten the drying and extend 
 the range of working temperature, but the quality of the lacquering 
 suffers thereby, and good lacquer work cannot be so produced. In 
 fact, all the hard and fine old work, all really high class and durable 
 lacquer, is the result of time as well as of skill and of patient labour; 
 none of the processes can be hastened without detriment, and hence 
 the great difference between old and modern lacquer. It is not so 
 much that the modern workman is less skilful than his predecessors, 
 in fact, he has materials and appliances at command enabling him to 
 produce works even more striking than those of the old masters ; 
 but the exigences of commerce do not allow him to give the 
 requisite time to it, the work would be too costly. He therefore 
 resorts to various modes of rendering the lacquer more easy to work, 
 by the addition of camphor or perilla oil (from Perilla ocymoides), 
 the consequence being that the beauty of the finished work soon 
 diminishes. Experts readily recognise modern lacquer by the smell, 
 and the manufacturers practice various methods of getting rid of it. 
 
 In first class lacquer work the lacquer is applied by means of 
 cotton, in the thinnest possible films in most cases, and is partly 
 
liii. 
 
 wiped off with soft paper. As a general rule, the lacquer is not 
 applied as a varnish to produce a glossy surface, the high polish 
 being the result of friction with the hand, dressed with a powder of 
 calcined deer's horn and a small quantity of oil. The process of 
 lacquering has been often described at length, and notably by Quin 
 and Rein ; but all these descriptions are to some extent misleading 
 as regards the early stages, and confusing as regards the more 
 delicate processes, that of togidashi for instance. Rein does not 
 even attempt to describe it, and almost all that we can understand 
 from other descriptions is, that the gradations of tone are produced 
 by the greater or less thickness of lacquer over the gold or colour, 
 and that the work has to be rubbed down until the proper effect of 
 brightness of gold or colour is reached. We can easily understand 
 that where the films are so excessively thin, the smallest excess of 
 rubbing destroys the work or produces an uneven tint. It is 
 commonly known in Europe as "rubbed lacquer," a translation of 
 togidashi-makiye, and its effect is that of fine pastel work. 
 
 In the production of a piece of plain black lacquer of the 
 first class, or of a piece destined to be ornamented, Quin describes 
 thirty-three separate processes, twelve of which are applications of 
 thin coats of lacquer, requiring the object to be placed in the 
 cupboard to dry and harden nineteen times, for periods varying 
 from twelve hours to three days. At most of the stages of 
 preparation the surface has to be gone over with charcoal or 
 whetstone, solid or in powder, and finished as truly and perfectly 
 as if it were the final operation. If the piece were worked at 
 continuously it would require twenty-two days as a minimum for 
 completion. 
 
 When the article has to be decorated in gold or colour the 
 amount of time expended on such decoration varies of course 
 ad infinitum. And it is well to bear in mind that even in the 
 hira-makiye, or flat gold picture lacquer, the design Is not painted 
 
liv. 
 
 on in gold but in lacquer, and on the lines so made gold powder 
 of the requisite fineness is dusted from a small tube, the end of which 
 is covered with a woven material through which the powder can 
 pass. In the case of a flat gold ground, the process is usually the 
 same : it is not covered with gold leaf, but is produced by dusting 
 gold powder on to wet lacquer, a process repeated several times 
 until the requisite thickness is obtained. For particular tones or 
 effects, we sometimes find the ground painted on with gold mixed 
 with lacquer, and this is also done in the case of coloured grounds, 
 but in others the colour is dusted on, like the gold. 
 
 We frequently find small quadrangular pieces of gold foil of 
 various shapes and dimensions applied to the gold surfaces, 
 especially where rocks or clouds are represented. This is called 
 by Quin and Rein, Gyobu jtaskiji, and described as the invention of 
 Gyobu Taro, a lacquerer of the beginning of the i8th century.* 
 These pieces of foil are laid on one by one with the greatest 
 regularity, sometimes covering considerable surfaces. The work 
 
 Case XV., II. is called by some, kirikane work, the pieces of gold being called 
 kirikane, or kirame, or ishime, stone-work. Other kinds have the 
 
 Case XL, 39. pieces of gold of irregular outline, and not placed in regular order, 
 all these varieties having their special names. 
 
 The nashiji, or aventurine grounds, have powdered gold of 
 coarser texture dusted on to them, which, when dry, is covered 
 with lacquer, the process being repeated according to the quality 
 of the work. For common work, silver, or tin powder is used 
 instead of gold, the final coat of lacquer being coloured with 
 gamboge, or dragon's blood, to produce the effect of gold dust. 
 Nashiji was frequently employed, either quite plain or decorated, 
 especially for paper boxes, &c., in old lacquer work, and was 
 
 * This kind of gold inlay is certainly found in earlier pieces. It may have been 
 some modification that was first employed by G3obu Taro. 
 
Iv. 
 
 very hard, rich and durable. It is generally used for the linings 
 and bottoms of boxes, inros, &c. 
 
 The descriptions of the preliminary processes are misleading, 
 because they leave the impression on anyone who has not investi- 
 gated the matter, that they are alike for all objects. But they 
 vary greatly, according to the methods and ideas of the individual 
 workman, and the character or quality of the object. Large pieces 
 will have their wooden bases covered with woven material, followed 
 by coats oi jinoko or tonoko, finely powdered burnt clay or pottery, 
 mixed with lacquer. Smaller pieces will merely have a covering 
 of paper, and modifications of the jinoko and tonoko, the object 
 being to prevent any sap of the wood reaching the lacquer. Inros 
 and sword scabbards will have special preparations, and so on. 
 The woods employed for lacquer ware are somewhat numerous, but 
 for the finer work, and for small pieces, Hinoki (Chamcecyparis 
 obtusa) and Kiri (Panlownia imperialis) are chiefly used. Sword 
 scabbards are always made of Ho-no-ki (Magnolia hypoleuca) and 
 scabbard lacquering was a special branch of the art. Lacquering on 
 metal is a totally different process, and has been much employed Case I. (6), 4, 5. 
 in modern times on vases and other objects in iron, to which it Case XVII., 18 
 gives a rich brown surface. The metal being smoothed and ^" ^'' 
 polished, it receives a coating of lacquer, and is then heated over 
 a charcoal fire until it gives off no smoke ; but the metal must 
 not be made red hot, otherwise it burns the lacquer and reduces 
 it to an ash. The surface is smoothed with charcoal, and the 
 operation repeated three or four times until the requisite thick- 
 ness is attained. Any ornamentation or colouring of the surface 
 is performed in the same way as on wood, except that the lacquer 
 is roasted instead of being dried in a damp cupboard. This lacquer- 
 ing on metal is very adherent, hard and durable. ' 
 
 Besides the many varieties used by the sword-sheath lacquerer, 
 there are about a hundred employed for various purposes, or made in 
 
Ivi. 
 
 different districts, some differing but slightly from others. It will be 
 sufficient to name a few of the principal ones only, those in fact of 
 which the distinctive characters are the most easily recognised. 
 
 Aogai-nuri (ntcH refers to lacquered ware, tirushi to the crude 
 lacquer). This is of various kinds ; in one, much used for scabbards, 
 coarsely powdered haliotis shell is sifted on, lacquered over and 
 rubbed down, as in making nashiji. Another style has flakes of shell 
 
 Case XX. B., 41. cut to the form of the object represented and fastened to the lacquer 
 when wet. It is then covered over with lacquer, and rubbed down 
 until the design, the surface being usually engraved, reappears. But 
 the most important description is made by cutting out segmentary 
 forms in the shell with a sharp knife or chisel, and attaching them to 
 
 Case IX., 2S-33. ^^ lacquer. It is in reality a shell mosaic, diapers of the most 
 elaborate kind being produced with astonishing accuracy, as well as 
 flowers, landscapes and animals. It is a work involving, as a rule, 
 much patience and skill in lieu of art, but one celebrated inro maker, 
 Chobei, was known, from his skilful employment of this style, as 
 Aogai Chobei. 
 
 Case XVIII 41 Chinkin-bori (bori, engraving or carving). In this, the design 
 
 42, 45, 46. jg engraved on the plain surface of the lacquer, and the lines are 
 
 accentuated with gold. In competent hands the effect is excellent, 
 like a fine etching printed in gold. It is of Chinese origin and was 
 introduced at an early period, the work being frequently executed, it 
 is said, with a rat's tooth to preserve an equality in the strength of 
 the lines, a steel point blunting too rapidly. Towards the end of the 
 18th century Ninomiya Totei was a celebrated worker in this style, 
 
 Case X., 13. and the risers of the inros by Hanzan and others are frequently 
 
 decorated in chinkin-bori. 
 
 Case XVIII., 2. Guri lacquer. This is also of Chinese origin, and was intro- 
 
 Case XX. B., 50. duced into Japan, it is said, by Yosei about 1660, together with 
 tsuishu and tsuikoku, carved red and black lacquers, whence he 
 was called Tsuishu Yosei. It differs, however, from those lacquers 
 
Ivii. 
 
 by being formed of layers of lacquer of different colours superposed. 
 A sort of scroll pattern is usually cut upon it in V-shaped grooves, 
 the sides of the cut showing lines of coloured lacquer. Each layer 
 is, however, composed of many very thin layers of lacquer, and has 
 to be accurately smoothed and finished before the next colour is 
 commenced, so as to keep the lines of colour horizontal and parallel 
 to each other. As this required much time, labour and skill, guri 
 lacquer was costly and was rarely made of late years. 
 
 Sometimes we find this lacquer in very varied colours, yellow, 
 green, red, &c., and landscapes and figure subjects are carved upon CaseXX.B.,46(?) 
 it by cutting away the layers until the colour required is reached, 
 yellow for the flesh, green for foliage, &c. 
 
 One variety of this variegated carved lacquer is the Kokwa Case XVIII., 33. 
 ryokuyo, or red flower, green leaf lacquer. In this, the layers of 
 coloured lacquer are very thin, and the relief, therefore, so slight that 
 the red flowers and green leaves look almost as if modelled on with 
 a brush instead of being carved. 
 
 Kamakura-bori, made at Kamakura, consists of wood carving, Case XVIII., 23. 
 usually flowers, covered with a ground of black lacquer, over which 
 was a layer of red lacquer, and the work was not of very good 
 quality. Echizen-bori, very similar, has not been made at Echizen, 
 according to Quin, since 1573. Odawara-bori is of the same 
 character, but very inferior. 
 
 Miyako lacquer (the old name of Kioto) is the name usually 
 given to a lacquer having a terra cotta coloured ground on which are 
 subjects in black lacquer in relief. 
 
 Mokume, or wood grain. This name is more particularly Case XX. B., 
 applied to a somewhat conventional rendering of the broad graining ^~ ' 
 of soft wood, in many gradations of gold of various colours, and of and 37. 
 brown. It is very difficult of execution, and is therefore costly. It 
 must not be confounded with the imitations of wood of various kinds, 
 in which the Japanese lacquerers are so skilful, imitating even the 
 
Vlll. 
 
 orifices of the ducts, that it is often difficult, without cutting into the 
 lacquer, to tell whether the natural wood is visible or not. 
 Case XX. B., 19. Owari lacquer. This is the name given to a lacquer, used 
 
 chiefly for inros or small boxes, in which flowers in solid gold or 
 silver are applied on a gold ground, the leaves, &c., being in 
 raised lacquer. We sometimes find coral, haliotis shell, &c., 
 introduced. 
 
 Samegawa-nuri, or Sharkskin lacquer. The samegawa is the 
 skin of a fish having white nodules of various sizes on its surface. 
 Ift is commonly rendered "sharkskin," but is in reality the skin 
 of a species of ray (Rein calls it a roach), the Rhinobahts armatus 
 It is commonly employed for covering the handles of swords 
 and daggers, and the large grained skins are sometimes securely 
 glued on to scabbards, the nodules partially rasped down and 
 the whole covered with black lacquer. When this is ground 
 down, smoothed and polished, it has the appearance of a number 
 of rounded discs of ivory imbedded in lacquer. This is " samegawa- 
 Case XII., 2. nuri," but a much finer grained skin is treated in the same manner 
 
 Case XX. B. ^"<^ used for covering inros and small boxes. Sometimes the 
 22> '3- skin is previously stained, but this variety is not often met with. This 
 
 finer grained fish skin is also applied to scabbards, and lacquered 
 in like manner. 
 Case IX , 10. Suri-hagashi-nuri, or rubbed-off lacquer. This is sometimes 
 
 called tortoiseshell lacquer, and consists of a finished coat of 
 black lacquer, on which a coat of red lacquer is applied. This 
 is rubbed off in places with charcoal so as to expose the black 
 lacquer, the edges being carefully gradated. It is then finished 
 and polished in the usual manner. 
 
 Tsugaru-nuri. This is made in the Tsugaru district, and is 
 
 Case XVIII., 12. a variety of the Guri lacquer, but is made with layers of various 
 
 colours, black, red, yellow and green, and instead of the layers 
 
 being horizontal, they are more or less undulating, and thinner, 
 
lix. 
 
 as a rule, than those of Guri lacquer. When, therefore, the 
 surface is ground down, or a slice removed, a marbled surface is 
 produced, showing a greater or less number of the layers. It is 
 far more difficult to make and more costly than the Guri, and is 
 rarely met with, especially in pieces of any size, and still more 
 rarely carved. 
 
 Tsuishu, and Tsuikoku, carved red, and carved black lacquers. Case XVllI., 14. 
 have been already referred to. At the beginning of the 1 7th century, ^^^^ ^^- ^''■' 49- 
 a famous maker of them was thence known as Tsuishu Heijuro. 
 The Chinese, who invented it, produce very fine examples of carved 
 red lacquer, concerning which. Rein makes an astonishing statement. 
 He says that it is carved when hot, a popular idea of those who 
 believe red lacquer to be a variety of sealing wax. He quite over- 
 looks the impossibility of keeping a huge vase, like that in the South 
 Kensington Museum, hot v/hile it was being carved, more especially 
 when the object is of wood. But the most remarkable feature is, 
 that he tells us he had lacquerers working under him for six 
 months, and he never seems to have discovered that heating a body 
 of hardened lacquer has no effect on it, a thing any one possessing 
 an old sword scabbard can ascertain for himself. 
 
 Wakasa-nuri. This is made by coating the ground-work of the Case XVIII., 26. 
 lacquer with a kind of paste, on which, while yet soft, the pattern is 
 impressed. Leaves, or sprigs of coniferse are often so used. When 
 the paste has hardened they are removed, leaving hollows, with 
 raised outlines. The whole is covered with gold or silver foil (tin 
 foil for common work) carefully pressed into all the depressions, and 
 it then receives a number of coats of transparent coloured lacquer 
 until the hollows are all filled. It is then rubbed down until the foil 
 on the highest portions, the outlines, is reached, and the pattern is 
 then seen in varying depths of colour, from that of the pure metal. 
 
 Zogan-nuri, or damascened lacquer, has the subject outlined. Case XVII., 9. 
 or even detailed, in gold or silver wire, filled in with lacquer of . 
 
41, 42,44- 
 
 Ix. 
 
 different colours. In the old work this is applied to landscapes, 
 but in modern work by a different process, using sheets of foil, 
 more in the style of Wakasa lacquer, an excellent imitation of 
 damascening in silver is produced. It is usually taken for an 
 inlaying of silver wire. The real work is seldom met with. 
 
 Case XVIII., 38. Zokoku-nuri. This was invented by Tamakaji Zokoku at the 
 
 end of the last century, in imitation of a variety of Chinese lacquer, 
 and he was followed by his son, Zokoku, and his brother, Fujikawa 
 Seiji. The groundwork is of bamboo or wood, upon which black 
 or red lacquer is laid and carved, usually with minute patterns of 
 flowers, filled in with coloured lacquer. 
 
 Case XVII., 39, Lacquer is also applied to pottery and porcelain, but although 
 
 there are specimens dating from the 17th century, the art seems to 
 have fallen into abeyance, until revived in the present century by 
 Hoki Toyosuke, whose lacquered pottery is known as Toyosuke 
 raku-yaki. Idzumo pottery is decorated in a similar manner, but 
 lacquer ware takes so many forms and is applied to so many 
 purposes, that it is difficult to enumerate or to describe its varieties, 
 or the modes in which urushi is utilised. 
 
 No one familiar with the higher class of lacquer work will be 
 disposed to look upon the opinion of M. Gonse as exaggerated when 
 he speaks of Japanese lacquered objects as among the most perfect 
 that ever left the hands of man. Apart from their beauty, they have 
 a special interest as recording the dominant ideas of decoration and 
 of painting at various periods. Many of the lacquerers, as we have 
 seen, were themselves painters ; but often other draughtsmen 
 furnished designs for the more celebrated lacquerers, and it is 
 interesting to note how these pictures have been translated into gold 
 or coloured lacquer. We frequently find, on inros especially, the 
 name of the painter recorded as well as that of the lacquerer, and in 
 some instances, more especially in the 19th century, the painter only 
 . is mentioned, leaving it doubtful whether he actually executed the 
 
Ixi. 
 
 work in lacquer. Remembering, however, that priests and nobles 
 were amateur lacquerers, and that some artists are more widely 
 known as lacquerers than as painters, it is not unreasonable to 
 suppose that in some of the cases alluded to the painter executed the 
 work himself. 
 
 The study of lacquer work is as fascinating and as varied as that 
 of Japanese ceramics. But while, with respect to the latter, we have 
 at our disposal and for our guidance a vast amount of information, 
 Japanese and European, besides many noted collections accessible 
 to the student, the reverse is the case with regard to lacquer. 
 Unfortunately, too, while the perfected processes of illustration at 
 the present day do so much to render descriptions of pottery and 
 porcelain practically useful, lacquer in any form has defied 
 mechanical methods of reproduction of every kind, and nothing is 
 to be learned except by an examination of the objects themselves. 
 Our museums and public collections offer us no sufficient means 
 of study, and hence the desirability of gathering together from 
 time to time examples from private sources. Such Exhibitions 
 not only add to the knowledge of collectors, but enlighten the 
 general public as to the real character and merit of this beautiful 
 branch of Japanese art. 
 
 E. GILBERTSON. 
 
NOTE ON INRO. 
 
 jE know little of the origin of the inro. As regards the 
 date of its introduction, an official handbook to Japanese 
 Art industries, published at Tokyo Museum, states that 
 they came into fashion during the period Keicho (1596-1614); 
 another authority states that Iwasa Matahei, the founder of the 
 Ukiyo school of painting, who died early in the 17th century, 
 was the first to decorate them artistically. It would seem, then, 
 tliat in no case have we authority for assigning an earlier date 
 than the beginning of the 17th century to any specimen. Now, 
 while an inro as often as not bears a signature, with larger pieces 
 of lacquer this is rarely the case ; in any attempt then at a historical 
 arrangement, it is with the inro that we must set out. There are 
 more than a hundred carefully selected signed inro in this collection, 
 and although many of the signatures are of men of whom nothing 
 is known, although in other cases only the family name is given, 
 leaving the date quite uncertain, although others again are of 
 somewhat doubtful authenticity, yet by bringing together and 
 classifying such a series, some ray of light may be thrown on that 
 nebulous question, the history of Japanese lacquer. An attempt 
 in this direction has been made in the Table Cases IX. to XII., 
 where a series of inro, mostly signed, are displayed along with 
 other pieces of lacquer. We begin with some old unsigned pieces, 
 generally of dark colour, and often inlaid with fine mosaic of 
 mother-of-pearl, sometimes ascribed to the Kamakura school or to a 
 certain " Aogai Chobei." In these early inro we often find the 
 
Ixiv. 
 
 guide at the side, through which the cord passes, to be Hned with 
 silver ; it is often lobed or broken up, or even represented by mere 
 eyes of metal. Then we pass to some fine examples signed by 
 Soyetsu and to the school of Korin. In the next Case (X.), the 
 well marked school of Ritsuo is well represented, the contemporary 
 school of the early Shunsho very inadequately. The inro in 
 Case XL, with few exceptions, are signed examples of the Koma 
 family, filling the i8th and early part of the 19th century. In 
 Case XL, after a few fine examples of the first and second Shiomi, 
 we come to the great Toyo, and to the numerous workers of the 
 early 19th century, ending with Ken-ya, the last of the Ritsuo school 
 of incrusters, and with Zeshin, both but recently dead. 
 
 E. DILLON. 
 
APPENDIX I. 
 
 SIGNED EXAMPLES OF TSUBA 
 By the following Makers are Exhibited. 
 
 Akao Jinzayemon-no-j6 of Echizen. 
 
 Akao Yoshitsugu. 
 
 Akasaka Tadatoki of Bushu. 
 
 Ariyuki of Hagi. 
 
 Atsushige. 
 
 AzuMA Masutsune. 
 
 Biju. 
 
 Chikusai of Heian. 
 
 FuRUKAvvA Genchin. 
 
 Gankosai Kworo 
 
 Genshosai Masaharu. 
 
 Goto Ichijo. 
 
 Goto Kiyomitsu. 
 
 Goto Mitsuhira. 
 
 Goto Mitsutoshi. 
 
 Goto Seijo. 
 
 Hakuinan Nobunaga. 
 
 Hakurioken Katsuoki. 
 
 Harada Tokosai. 
 
 Haruaki (or Shummei) Hogen. 
 
 Hashimoto Masatoki. 
 
 Hazama. 
 
 Hideaki. 
 
 Hidenao, Hozui, Sokwan, and Toshihide —all 
 
 on one guard. 
 Hir.\ta (Donin). 
 Hi rata Harunari. 
 Hirata Shunkwan: dated 1828. 
 Hirochika. 
 
 Hitotsuyanagi Tomotoshi. 
 Hitotsuyanagi Tomoyoshi. 
 Hokio Kiyoshige: dated 1867. 
 Honda Masatora of Oizumi, Uzen. 
 Horiudo Katsushige. 
 HoRivE Okinari. 
 HosoDA Naoniitsu. 
 Hoyen Kazutomo. 
 Ichigiosai. 
 
 IijiMA Yojibei and Fukui Jizayemon. 
 Ikkin. 
 
 Inamoto Masateru. 
 Inouve Kiyotaka of Choshu. 
 Is.\ga\va (or Sunagawa) Masayoshi. 
 
 IsHiGURO Masatsune. 
 
 IsoBE Kazuhide. 
 
 Issando Joi. 
 
 Issho Nakagawa Katsuzane. 
 
 Iwamoto Konkwan. 
 
 Jochiku. 
 
 Juso Hogen, Takahashi Toshitsugu. 
 
 Kajikawa Takafusa (lacquerer). 
 
 Kanda Kishichi. 
 
 Kanda Shigeuji of Hagi, Choshu. 
 
 Kaneko Jurobei Yukinaka of Hagi, Choshu. 
 
 Kanesada, Izumi no Kami. 
 
 Katsuyoshi. 
 
 Kawaji of Hagi, Choshu. 
 
 Kawaji Tomomichi of Hagi, Choshu. 
 
 Kazuhide. 
 
 Kazumitsu of Inshu. 
 
 Kazuo: dated 1830. 
 
 Kazusada. 
 
 Kenzui (or Kaneyuki). 
 
 Kikugawa Nampo Hisahide. 
 
 KiKuOKA Yukinobu. 
 
 Kinai of Echizen. 
 
 Kinkwodo Morichika. 
 
 Ki-no Munemasa. 
 
 Kiyofusa (i6th century). 
 
 Kiyonaga. 
 
 Kiyoteru. 
 
 Kunihiro. 
 
 Kunimasa of Buy5. 
 
 Masachika of Bushu. 
 
 Masakata of Bushu. 
 
 Masanaga. 
 
 Masanori of Hagi, Choshu. 
 
 Masashige of Kameyama. 
 
 Masatoyo of Bushu. 
 
 Masatsune of Musashi. 
 
 Masayoshi of Bushu. 
 
 Michinaga. 
 
 MiKAMi Yoshihide. 
 
 MiocHiN Ki no Yoshishige. 
 
 MiocHiN Munesada. 
 
 MiOCHiN Munetaka. 
 
Ixvi. 
 
 MiOciiiN Yoshihisa of Esshu. 
 
 Mitsuhiro. 
 
 Mitsuhiro of Yagami, Hishu. 
 
 Mitsuoki of Yoshu. 
 
 Mitsuyoshi of Kofu. 
 
 Moritoshi of Geishu. 
 
 MoRiYAMA Shoami Kaiiemichi of Matsuyama, 
 
 YoshO, a»(/ Morikuni : dated 1727. 
 ^Munemasa. 
 Munenori. 
 Nagatsune. 
 Nagayoshi. 
 Nakai Tomonobu. 
 
 Nakai Zensuke Tomotsune of Hagi, Choshu. 
 Naokatsu of Hagi, Choshu. 
 Nara Toshiharu. 
 Natsuo. 
 
 NiSHiKAWA Masatora. 
 Nobuiye. 
 Norimasa. 
 
 Norisuke of Bifu: dated 1846. 
 Noritada. 
 
 Okada Nobumasa. 
 Omori Teruhide: dated 1777. 
 Omori Terumasa. 
 Rioun Seiju. 
 Riumeishi Kazuhide. 
 Seirioken Shoju. 
 Seiriosal Hidetoshi (or Shuju). 
 Seiriuken Eiju. 
 Semposai. 
 
 Shiba Hogen Takechika. 
 Shigetsune of Hagi, Nagato. 
 Shoami Dennai of Akita, Dewa. 
 Shoami Katsuyoshi : dated 1868. 
 Shoami Masanori. 
 
 Shoami Morikuni of Matsuyama, lyo. 
 Shoami ofOdawara. 
 Shoami Shigetsune of Akita. 
 Shojo Temmin. 
 Shunsui. 
 
 Someya Tomonobu. 
 
 Sugiyama Atsushige of Mito: dated 1828. 
 SuRUGA of Inshu. 
 
 Tadanaga. 
 
 Tada Sadamasa. 
 
 Takahashi Masatsugu. 
 
 Takahashi Tomotsngu. 
 
 Tatsutoshi of Kofu. 
 
 Tetsugendo Shoraku. 
 
 Terumasa. 
 
 Tokinao of Kofu. 
 
 Tomohisa of Hagi, Choshu, 
 
 Tomonobu. 
 
 Tomonori. 
 
 Tomozuru. 
 
 Toshiharu of Yedo. 
 
 Toshihiro, retainer of Sakura (date about 
 
 1746) 
 Tosliinaga (the 2nd). 
 Toshiyoshi. 
 Tsuji Gwanriu. 
 
 Tsunenobu atid Yamada Morinobu 
 Tsuneyo. 
 Umetada. 
 Umetada Kirokuro. 
 Umetada Masahide. 
 Umetada Masatsugu. 
 Umetada Masaya. 
 Umetada Mioju (early i6th century). 
 Umetada Narimasa. 
 Umetada Shichizayemon. 
 Umetada Yoshitsugu'of Akashi, Harima. 
 Uyemura Masumoto. 
 Washida Kwochu of Oizumi. 
 Yamamoto Riurinsai Toraoyasu. 
 Yanagawa Mitsuaki. 
 Yasuchika. 
 Yasuiye. 
 Yoshiaki. 
 Yoshihisa. 
 Yoshimori. 
 
 YosHiOKA Terutsugu. 
 Yoshitsugu: dated 1861. 
 Yoshitsura. 
 Yuosai. 
 
 Zeshin (lacquerer). 
 Zuiriuken Hidetomo. 
 
Ixvii. 
 
 APPENDIX II. 
 
 LIST OF PLANTS* 
 Identified as having furnished Ornamental Motives to Japanese Artists in Metal. 
 
 Abies firma. 
 
 Acer palmatum. 
 
 Agaricus sp. 
 
 Alisma plantago. 
 
 Althaea rosea. 
 
 Amygdalus persica. 
 
 Anemone hepatica : A. cemua. 
 
 Anthisteria arguens. 
 
 Artemisia japonica. 
 
 Arundinaria japonica. 
 
 Asarum caulescens : A. variegatum. 
 
 Aster tataricus. 
 
 Azalea indica. 
 
 Bambusa nana • B. pygmaea. 
 
 Begonia evansiana, and other species. 
 
 Broussonetia papyrifera. 
 
 Calystegia japonica. 
 
 Camellia japonica: C. sasanqua: C. theifera. 
 
 Capsicum annuum : C. anomalum. 
 
 Castanea sativa. 
 
 Chamaecyparis obtusa. 
 
 Chrysanthemum coronarium. 
 
 CitruUus edulis. 
 
 Citrus aurantium. 
 
 Clematis florida : C. patens. 
 
 Cleyera japonica. 
 
 Crataegus cuneata. 
 
 Cryptomeria japonica. 
 
 Cucurbita pepo. 
 
 Cycas revoluta. 
 
 Cyperus iria. 
 
 Dianthus japonicus: D. caryophyllus. 
 
 Dioscorea japonica. 
 
 Diospyros kaki. 
 
 Eleusine coracana. 
 
 Equisetum sp. 
 
 Eulalia japonica. 
 
 Eupatorium japonicum. 
 
 Fagus sieboldii. 
 
 Funkia ovata. 
 
 Gentiana buergerii : G. scabra. 
 
 Ginkgo biloba. 
 
 Gleichenia dichotoma. 
 
 Glycine soja. 
 
 Hibiscus mutabilis: H. syriacus. 
 
 Hydrangea hortensis. 
 
 Inula helenium. 
 
 Ipomaea hederacea. 
 
 Ilex sieboldii. 
 
 Iris laevigata: I. japonica: I. sibirica: 
 
 I. textorum. 
 Jasminum sieboldianum. 
 Juglans regia. 
 Juncus effusus. 
 Kerria japonica. 
 Lagenaria vulgaris. 
 Larix leptolepis. 
 Lespedeza bicolor: L. juncea. 
 Lilium auratum: L. japonicum: L. lancifolium 
 
 (thunbergianum). 
 
 Magnolia conspicua: 
 
 leuca. 
 Mangifera indica. 
 Melia azedarach. 
 Momcrdica charantia. 
 Musa sapientum. 
 Nandina domestica. 
 Nerine japonica. 
 Nuphar japonicum. 
 Nymphaea tetragona. 
 
 M. kobus: M. hypo 
 
 * The botanical names adopted are those of MM. Franchet and Savatier in their Etiuiiioalio 
 Plantaritm in yafionia sponte crescentium : reference has also been made to the Itufex Keivtnsii. 
 
Ixviii. 
 
 Oryza sativa. 
 
 Paeonia moutan : P. albiflora. 
 
 Papaver rhoeas : P. somniferum. 
 
 Passiflora coerulea. 
 
 Patrinia scabiosaefolia. 
 
 Paulownia imperialis. 
 
 Pennisetum typhoideum. 
 
 Photinia japonica. 
 
 Physalis alkekengi. 
 
 Planera japonica (=Zelkowa keaki). 
 
 Platycodon grandiflorum. 
 
 Pinus densiflora : P. thunbergii. 
 
 Prunus japonica : P. mume : P. pseudo- 
 
 cerasus. 
 Pynis japonica : P. malus : P. spectabilis : 
 
 P, ussuriensis. 
 Quercus dentata : Q. serrata, and other 
 
 species. 
 Raphanus sativus. 
 
 Rhodea japonica. 
 
 Rhododendron indicum. 
 
 Rhus vernicifera. 
 
 Rosa indica : R. banksiae. 
 
 Sagittaria sagittaefolia : S. pygmaea. 
 
 Salix jai)onica and other species. 
 
 Saxifraga sarmentosa. 
 
 Setaria itaHca. 
 
 Solanum melongena. 
 
 Sonchus oleracea. 
 
 Tecoma grandiflora. 
 
 Thujopsis dolabrata. 
 
 Trapa bispinosa. 
 
 Vigna catiang. 
 
 Vinca rosea. 
 
 Vitis inconstans : V. labrusca. 
 
 Wistaria sinensis 
 
 Zea mays. 
 
APPENDIX III. 
 
 BIBLIOGRAPHICAL NOTES. 
 
 Anderson, Wm. Catalogue of a Collection 
 of Japanese and Chinese Paintings in 
 the British Museum. 1886. 
 
 Anderson, Wm. Pictorial Arts of Japan. 1886. 
 
 Appert, G. et KiNOSHiTA, H. Ancien 
 Japon. 1888. 
 
 BiNG, S. Artistic Japan. Thirty-six Parts. 
 1888-1891. 
 
 Bramsen, William. Japanese chronological 
 Tables. 1880. 
 
 Brinckmann, Justus. Kunst und Hand- 
 werk in Japan, i ter Bd. 1889. 
 
 Chamberlain, Basil Hall. Things Ja- 
 panese. 1890. 
 
 CoNDER, JosiAH. The History of Japanese 
 Costume (Armour). Trans. Asiatic Soc, 
 Japan. Vol. IX. 1881. 
 
 EiTEL, E. J. Handbook of Chinese Buddhism. 
 1888. 
 
 Franchet, a., et Savatier, Lud. Enume- 
 ratio Plantarum in Japonia sponte cres- 
 centium. 1874. 
 
 GiLBERTSON, E. Selections from the descrip- 
 tive Catalogue of the Gilbertson Collec- 
 tion. Part I., 1888, Parts U. and III., 
 1889. Printed privately. 
 
 Gilbertson, E , and Kowaki, G. Genealogy 
 of the Miochin Family. Transactions of 
 the Japan Society. Vol. I.London. 1893. 
 
 GoNSE, Louis. L'Art Japonais, tomes I. 
 et II. 1883. 
 
 Harukawa, Toshimasa. Makiye Daizen 
 (Guide to Designs on Lacquer). 5 vols. 
 Osaka. 1 7 5 1 . 
 
 Kogei Shiryo. (Handbook of Japanese Indus- 
 tries). Published by the Imperial Japa- 
 nese Museum, zndedition. T6ky5. 1888. 
 
 Kokkwa (Monthly Art Journal). Published 
 by the Kokkwa-sha. Tokyo. From 1 889. 
 
 Matsumura, JiNzo. Nippon Shokubutsu 
 Mei-i. (Nomenclature of Japanese 
 Plants). Tokyo. 1884. 
 
 GuBBiNs, J. H. Dictionary of Chinese 
 Japanese Words in the Japanese Lan- 
 guage. 1889. 
 
 Hart, Ernest. Lectures on Japanese Art- 
 work. Society of Arts. 1887. 
 
 Hepburn, J. C. Jap.-Eng. and Eng.-Jap. 
 Dictionary. 1886. 
 
 HuiSH, Marcus B. Japan and its Art. 
 2nd edition. 1892. 
 
 Mayers, W. F. The Chinese Readers' 
 Manual. 1874. 
 
 Mittheilungen der Deutschen Gesellschaft 
 fiir Natur und Volkerkunde Ostasiens. 
 From 1873-1893. 
 
 Morse, Edward. Japanese Homes and 
 their Surroundings. 1886. 
 
 QuiN, J. J. The Lacquer Industry of Japan. 
 Trans. Asiatic Soc, Japan. Vol. IX. 
 1881. 
 
 Regamey, Felix. Le Japon Pratique. JV.D. 
 
 Rein, J. J. Travels and Researches. 1884. 
 
 Rein, J. J. The Industries of Japan. 1889. 
 
 Satow, E. M. Japanese chronological Tables. 
 1874. Privately printed. 
 
 Satow, E. M., and Hawes, A. G.S. Hand- 
 book for Travellers in Central and 
 Northern Japan. 1884. 
 
 Transactions of the Asiatic Society of Japan. 
 1872-1893. 
 
 Ussele, L. a travers le Japon. 1891. 
 
 Nakamura, Yosai. Kummo Zui Taisei 
 (An Illustrated Reader). 10 vols. Kyoto. 
 1789. 
 
 Bunsei Bukan. (Mirror of the mihtary 
 Families of Japan). 4vols. Yedo. 1818. 
 
 Taguchi, Ukichi. Shakwai Jii (Encyclo- 
 pcEdia of Japanese Subjects). 2 vols. 
 Tokyo. 1890. 
 
 Jisshuko Kurabu-yama. (Hints for the 
 Incense Game). Manuscript. No date. 
 
t WL 
 
 XOL 
 
 jm. 
 
 ENTRANCE 
 OOOR 
 
 '^ 
 
 HE 
 
 Tnr 
 
 K 
 
 FIREPUACt 
 
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 r 
 
 CONTENTS OF CASES. 
 
 METAL -WORK.:- 
 
 I. Sword Guards and Arrow-Heads. 
 
 II. Ornaments of the Japanese Sword. 
 
 III. Sword Guards, and other objects of inlaid and chased Metal work. 
 
 IV. Bronze, Iron and Copper vessels and ornaments. 
 V. Bronzes, Armour and Swords. 
 
 VI. Inlays of various metals on Iron, Silver and Bronze. 
 
 VII. Bronze vessels and ornaments. 
 
 VIII. Bronzes and other Metal work, connected with Buddhist worship. 
 
 LACQUER :- 
 
 IX. Chiefly 17th century Lacquer, with a few earlier pieces. 
 
 X. Lacquer of the end of the 17th, and beginning of i8th century, including the school 
 of Ritsuo. 
 XI. Lacquer, chiefly by the Koma school of the i8th century. 
 XII. Lacquer, chiefly from the middle of the i8th century to the present time. 
 
 XIII. Lacquer, chiefly supplementary to Table Cases IX. and X. 
 
 XIV. Implements used in Incense burning, and other small objects of Lacquer. 
 XV. Large pieces of Lacquer, chiefly of the i8th century. 
 
 XVI. Lacquer, chiefly of the late i8th century, and of the 19th century. 
 XVII. Specimens illustrating special kinds of Lacquer work. 
 XVIII. Do. do. do. 
 
 XIX. Ivory Lacquered, and other objects of Lacquer, especially pieces showing early 
 European influences: also some Bronzes and Inlaid Metal work. 
 XX. Collection of Sakazuki (Sake' Cups). Collection of Inro arranged according to 
 material and inlay. 
 
N.B. — In the Japanese words occurring in this Catalogue, the consonants should be pronounced as in 
 English, g being always hard, and the vowels as in Italian. 
 
 The y represents a very short i. as in young, or the i in the Italian word lasciare. 
 In signatures, the family name is printed in capitals. 
 
 CATALOGUE. 
 
 Case I. 
 
 Collection ok One hundred and twelve Tsuba. 
 
 1. Iron, chased and pierced : design of seven leaves. Signed Masachika 
 
 of Bushu. 
 
 2. Iron, chased and pierced : group of Iris flowers. Signed Shigetsune of 
 
 Hagi, Choshu. 
 
 3. Copper : flowers and butterflies in champleve enamel. 
 
 4. Sentoku : clematis sprays, inlaid in shakudo and silver. 
 
 5. Iron, pierced and chased : clematis flowers and leaves. 
 
 6. Copper : flowers in various metals, in flat inlays. 
 
 7. Copper : bamboo stems. Signed Yasuchika. 
 
 8. Iron : a peony blossom with silver veins. Signed GOTO Seijo. 
 
 9. Iron : groups of plants in gold and silver relief Signed Kazuhide. 
 
 ID. Iron, pierced and chased: riceears. Szj^K^^MlOCHlN Yoshihisaof Echizen. 
 
 11. Iron: flat inlays of silver and bronze. Signed IlJIMA Yojibei and 
 
 FUKUI Jizayemon. 
 
 12. Iron : bamboos. Seal of Seiriuken Eiju. 
 
 13. Sentoku : a tangle of grasses and insects. By Seikiuken Masahiro. 
 
 14. Iron : double-blossomed peach. Signed Tada Sadamasa. 
 
 15. Sentoku : poet by waterfall. Signed Shoami Shigetsune of Akita. 
 
 16. Iron : encrusted with gold arabesques. 
 
 17. Iron : encrusted with gold arabesques. Signed Hakuman Nobunaga. 
 
 18. Sentoku: Jurojin, stag and crane. Signed lQsh.ma.gai. 
 
 19. Iron : wistaria in various metals. Signed Shoami Katsuyoshi : dated 1868 
 
 20. Iron : soy bean in gold relief. 
 
 21. Red copper : chased and encrusted with kiri badge in shakudo. ByGOTO 
 
 Mitsunaga. 
 
 22. Iron, lacquered : diaper of awabi shell. 
 
 23. Sentoku : plum branches in relief in silver and shakudo. Signed HONDA 
 
 Masatora of Oizumi, Uzen. 
 
 24. Copper: flat inlays of silver, shibuichi and shakudo, and enamel. 
 
 Branches of mum^ (plum). 
 
Case I. 
 
 25. Sentoku : flat inlays of silver and butterflies, encrusted in awabi shell. 
 
 26. Silver and shakudo ; elliptical rings grooved radially. 
 
 27. Sentoku : snow in silver on fir. Signed Yoshu T.SUKI Mitsuoki 
 
 28. Copper : swallows in shakudS and silver. Signed Yasuchika. 
 
 29. Shakudo: insects in coloured metal. Signed GOTO lch\lb, and YiXyonzgi. 
 
 30. Iron : beans in shakudo relief. 
 
 31. Iron : silver fret. 
 
 32. Iron : maple leaves in low relief. Signed Yasuiye. 
 
 33. Iron : maple leaves. 
 
 34. Iron : clematis in gold and shakudo reliefs. 
 
 35. Shakudo, chased and encrusted : fir tree and creepers. Signed ]och.{\iM. 
 
 36. Shakudo, nanako : chrysanthemum in gold imitating brocade ; a gold 
 
 dragon on edge. 
 
 37. Copper : bamboo in translucent green champleve enamel of early date. 
 
 38. Red copper : clematis sprays in shakudo. 
 
 39. Iron, watered : the eight trigrams pierced. 
 
 40. Shakudo : flowers in gold, &c., in relief. Signed Terumasa, in compliance 
 
 with desire. 
 
 41. Iron, pierced and enamelled : chrysanthemums. 5?]^^^ HiRATA (about 
 
 1600). 
 
 42. Shakudo : two wistaria racemes in relief, touched with gold. 
 
 43. Iron, pierced and chased : spray of mume (plum). Signed Masatoyo of 
 
 Bushu. 
 
 44. Iron : dragon in fused bronze and silver. By Kaneiye. 
 
 45. Iron, pierced and chased : chrysanthemum flower in oblique piercings. 
 
 Signed Yuchikudo NlSHlKAWA. Seal Masatora. 
 
 46. Iron, pierced and chased : three chrysanthemum flowers. Signed Kinai 
 
 of Echizen. 
 
 47. Iron : a chrysanthemum. Signed Umetada Yoshitsugu of Akashi, 
 
 Harima. 
 
 48. Iron, chased : two lotus leaves. Signed Umetada Masatsugu. 
 
 49. Iron : three wistaria racemes. Signed Umetada Mioju, early i6th 
 
 century. 
 
 50. Iron, pierced and chased : two oak leaves. Signed Umetada Kirokuro. 
 
 51. Iron : millet in relief Signed \i WET AD k Ma.sahide. 
 
 52. Iron : four fans. Signed Umetada Masaya. 
 
 53. Shakud5 : fans and cords in gold, shibuichi and silver. Signed 
 
 Umetada Shichizayemon. 
 
 54. Iron, pierced and chased : sprays of bamboo. 5«^«^^ Ariyuki of Hagi, 
 
 Choshu. 
 
 55. Iron, pierced and chased : two asarum leaves. Signed Kinai of Echizen. 
 
 56. Iron, pierced and chased : cherry-blossoms. Signed Kinai of Echizen. 
 
3 Case I. 
 
 57. Iron, pierced and chased : cherry-blossoms. Sifted Kinai of Echizcn. 
 
 58. Iron, pierced and chased : paper cordage. Signed Kinai of Echizen. 
 
 59. Iron, pierced and chased : Paulownia leaves and flowers. Signed Kisiai 
 
 of Echizen. 
 
 60. Iron, pierced and chased : mume (plum) blossoms. Signed Kinai of 
 
 Echizen. 
 
 61. Iron, pierced and chased : egg-fruit. Signed Kinai of Echizen. 
 
 62. Iron, pierced and chased : various plants and insects in openwork. 
 
 Sigtted Kinai of Echizen. 
 
 63. Iron, chased : a bivalve shell. Signed Kinai of Echizen. 
 
 64. Iron, pierced and chased : five cranes. Signed Kinai of Echizen. 
 
 65. Iron, encrusted with silver globules to represent toad-skin. Signed 
 
 Toshihiro, retainer of Sakura (about 1746). 
 (A. Shakudo, nanako : vine in gold and shakudo reliefs. 
 dj. Iron, chased : a peony flower. Signed Shigetsune of Hagi, Ch5shu. 
 
 68. Copper : waterweeds and shells in shakudo reliefs. 5z^«^df Jochiku. 
 
 69. Dark bronze : a trellis with convolvulus in silver and gilt copper. 
 
 70. Iron : damascened with flowers and foliage in gold. 
 
 71. Iron : damascened with chrysanthemum flowers in gold, silver and 
 
 shakudo. 
 
 72. Copper: vine inlaid in gold and silver. End of 17th century. 
 
 73. Iron: cherry-blossoms. Signed GOTO Kiyomitsu. 
 
 74. Iron, chased: cherry-blossoms closely set over the whole surface. 
 
 75. Iron, chased: a peony flower. Signed Tomonori. 
 
 76. Copper: butterflies in various metals in relief. Signed INAMOTO 
 
 Masateru. 
 yj. Shibuichi, chased : pine and rain-storm in relief Signed Kazuo : 
 
 daied 1830. 
 78. Iron, chased : bamboo stems, with fine .saw cuts between them. 
 
 Signed Tomozuru. 
 ^g. Iron, intaglio-rilevato: peony spray. .S?^«(?rt^ Kinkwodo Morichika. 
 
 80. Iron: inlaid with diaper in speculum metal. Signed Hazama. 
 
 81. Iron, chased: butterflies and peony plant. Signed Semosai Hidetoshi. 
 
 82. Iron, chased: flowers and leaves of a sonchus. Signed Masanori of 
 
 Hagi, Choshu. 
 8^. Iron, pierced and chased: branch with cherry-blossoms. Signed Masa- 
 chika of Bushu. 
 
 84. Iron, chased: foliage. Signed Kaneko Jurobei Yukinaka of Hagi, 
 
 Choshu. 
 
 85. Iron, chased: maple leaves. Signed Tokina.0 of Kofu. 
 
 86. Sentoku : flowers in gold and silver in relief 
 
 87. Copper, silvered : tiger in gold inlaid. Signed Issando Joi. 
 
Case /. 4 
 
 88. Bronze : two ear-shells and octopus in copper. Signed Kenzui. 
 
 89. Iron,pierced and chased : five bamboo baskets. 5«'f«f</MasanobuofBushu. 
 
 90. Shibuichi : a gourd plant, with leaves in various metals. Signed Nara 
 
 Toshiharu. 
 
 91. Iron, pierced and chased : chrysanthemums. Signed Kanda Kishichi 
 
 of Hagi, ChSshu. 
 
 92. Iron, chased : banana leaves. Signed Naokatsu of Hagi, Choshu. 
 
 93. Iron, pierced and chased : a lily. Signed Mitsuyoshi of Kofu. 
 
 94. Iron: three Paulownia badge pierced. 6"?^«^^ Akao Jinzayemon-no-jo 
 
 of Echizen. 
 
 95. Iron, pierced : interlaced circles. Signed MORIYAMA, Shoami Kanemichi 
 
 of Matsuyama, Yoshu, and Morikuni : dated 1727. 
 
 96. Iron, pierced and chased : fir tree. Signed Isagawa Masayoshi. 
 
 97. Iron, pierced and chased: six dragonflies. Signed Akao Yoshitsugu 
 
 and Omori Hidehiko. 
 
 98. Iron, pierced and chased : two cranes. Signed MioCHiN Yoshihisa of 
 
 Echizen. 
 
 99. Iron, etched : repetitions of a mon and arabesques in relief. 
 100. Iron, chased : lotus leaves. Signed SURUGA of Inshu. 
 
 lor. Iron, pierced and chased : bamboos. Signed Tokinao of Kofu. 
 
 102. Iron, chased: chrysanthemum flowers. Sz^^d? I SAGAWA, j^«/ Masayoshi. 
 
 103. Iron, pierced and chased : three peony flowers with arabesques. 
 
 Signed Kanda Shigeuji of Hagi, Choshij. 
 
 104. Iron, pierced and chased : chrysanthemum flowers and leaves, and 
 
 encrustations of gold and silver. Signed Okada Zenzayemon 
 Nobumasa of Hagi, Choshu. 
 
 105. Iron, pierced and chased : branch and flowers of mume (plum). 
 
 Signed Kawaji of Hagi, Choshu. 
 
 106. Iron : flat inlays of dragonflies and nelumbium in silver, shibuichi and 
 
 gold. Signed Norimasa. 
 
 107. Iron, chased : chrysanthemum flowers in relief Signed Norisuke of 
 
 Bifu : dated 1 846. 
 
 108. Iron, pierced and chased : peony flowers and leaves. Signed INOUYE 
 
 Kiyotaka of Choshu. 
 
 109. Iron, pierced and chased ; ginkgo leaves. Signed Masakata of Bushu. 
 no. Iron, pierced : foliage and flowers in yellow and green gold, and in silver. 
 in. Iron, pierced and chased : five crowns of Cycas revoluta. Signed Horiudo 
 
 Katsushige. 
 112. Iron, pierced and chased: three egg fruits. .S"z^^^ Masayoshi of Bushu. 
 
 Lent by Mr. A. H. Church. 
 2 Collection of Nine Arrow-heads ( Yajiri). 
 
 Lent by Mr. Wtn. C. Alexander and Mr. A. H. Church. 
 
5 Case I. 
 
 3 Collection of Twenty-five* Tsuba. Lent by Mr. G. Salting. 
 
 4 Collection of Fifteen Tsuba. 
 
 1. Shibuichi: a dragon in slight relief. Sz^w^*/ Gankosai Kworo. 
 
 2. Shakudo: a dragon in gold inlaid. 5'?^«^^ Yasuchika. 
 
 3. Sentoku: on a grained ground, five geese in shakudo. Signed Mitsuhiro- 
 
 4. Iron: a crane on a snow-laden fir. Signed Q\\^\xsz!\ o{ Heian. 
 
 5. Iron: a dragon in relief. 5?^^^ Shiba Hogen Takechika. 
 
 6. Copper: on a grained ground, ten tadpoles in shakudo on a silver stream. 
 
 Signed ISHIGURO Masatsune. 
 
 7. Shakudo: Hydrangea of silver in relief. 5z^«^^/ Riumeishi Kazuhide. 
 
 8. Shakudo and copper in fifteen layers, deeply cut in imitation of guri lac. 
 
 9. Shakudo: pierced with fret. 
 
 10. Shakudo: cranes and fir branch in relief S/^^^/ Nagatsune. 
 
 11. Iron: in the form of character Tai-riki (great strength). Sighted 
 
 Yoshitsugu; dated 1861. 
 
 12. Shibuichi and gold: eight sennin and two dragons. Signed IWAMOTO 
 
 Konkwan. 
 
 13. Copper lacquered: bamboos in storm on one side, and Kaminari in the 
 
 clouds on the other. Designed by MiNAMI. 5?^«^^Yoshitsura. 
 
 14. Iron: in form of helmet of twenty-four rivetted strips. Signed MiOCHiN 
 
 Munetaka. 
 
 15. Shakudo : grained ground, typhoon dragon and clouds, ^z^^^ Noritada. 
 
 Lent by Mr. H. S. Trower. 
 
 5 Collection of Seventeen Tsuba. 
 
 1. Silver: dragon in champlevd enamel. 
 
 2. Iron: encrusted with various metals. Signs of Zodiac. Rat A;/ Shinzui. 
 
 Ox by Sanekan^. Tiger by Saneyoshi. Hare by Sanetsugu. Horse 
 by Saneharu (Shinji). Goat by Shinjo. Dog by Saneharu (Shinshun). 
 Cock by Saneki. The other signs bear the kakihan of other artists. 
 t3. Mokume: by ITO Masayoshi. 
 
 4. Silver, copper and shakudS in layers, grooved in imitation of guri lacquer. 
 
 5. Iron, lacquered : Jurojin under a pine tree in gold and colours. Signed 
 
 Kajikawa Takafusa. 
 
 6. Copper : dragon in flat gold inlay, cloisonnd enamel clouds. Signed 
 
 Umetada. 
 
 7. Silver, pierced and chased : two carp. Seal of Katsuyoshi. 
 
 * Twelve of these are placed near the bottom of the Case, and ohe in Case III., 5 — 6. 
 
 Seventeen of Mr. Salting's tsuba are signed: (i and 2) Kinai ; (3) Iwamoto Konkwan; 
 (4) Tadanaga ; (6) Shoami of Odawara ; (7) Rioun Seiju ; (8) Nagatsune ; (9) Yoshitsugu ; 
 (12) Washida Kwochu; (13) Yoshiaki; (16) Umetada; (17) Nara; (18) Zuiriuken Hidetomo; 
 (20) Hidenao, Hozui, Sokwan, and Toshihide ; (21) Masakata ; (22) Kanesada, Izumi no Kami ; 
 (23) Genshosai Masaharu. 
 
 + This piece is in Case III., 5 — 1 1 . 
 
Case I. 6 
 
 8. Silver: inlays and reliefs of other metals, an Oni in iron. Signed 
 Yoshitsugu. 
 tg. Shibuichi and shakudo in fifteen layers, grooved in imitation of guri 
 lacquers. Signed Takahashi Tomotsugu. 
 
 10. Iron: encrusted with discs of cloisonne enamel. i'/^M^f/HosODANaomitsu. 
 
 11. Iron: watered. Sz^/^a^ MIOCHIN Kl no Munemasa. 
 
 12. Shibuichi: diaper of champlev^ enamel. 5i]^^rf GOTO Mitsutoshi. 
 
 13. Iron: dragons and tendrils in open-work. 
 
 14. Iron : pierced work, a Chinese vessel. 
 
 15. Iron: butterflies in enamel. 5z^«^df Masatsune of Musashi. 
 
 16. Lacquered metal: a dragon in black, waves in red. 
 
 17. Iron: Buddha and the sixteen Rakan in various metals in high relief. 
 
 Lent by Mr. M. Tomkinson. 
 6 Collection of Fifty-four Tsuba. 
 
 1. Silver, lacquered : Oniwaka-maru killing the great carp. 5«^«^^ Hideaki. 
 
 2. Bronze, lacquered : crab and weeds in gold lacquer. 
 
 3. Wood, lacquered: Tsnishu — carved red lacquer; sage and boy. 
 
 4. Iron, lacquered black : Fuji-san and the dragon, inlaid in haliotis or 
 
 trochus shell. 
 
 5. Leather, lacquered: a beetle. Signed 2.&^vi\. 
 
 6. Tortoiseshell, lacquered: M5s5 and the bamboo shoots in gold lacquer. 
 
 7. Wood, covered with leather and lacquered : cranes flying, gold on black. 
 
 8. Iron, covered with leather and lacquered : dragon in gold lacquer. 
 
 By Sadashige. 
 
 9. Sentoku, champlevd enamel : kara-shishi and peonies. 
 
 10. Bronze, champlevd enamel : butterflies, &c., in enamels and gold. Signed 
 
 Harada Tokosai. 
 
 11. Iron, inlaid with speculum metal: daikon leaf. Signed Masashige of 
 
 Kameyama in Ise ; he was related to HiRATA Donin. End of 17th 
 century. 
 
 12. Sentoku, cloisonne enamel : conventional flowers and diapers on 
 
 turquoise ground. 
 
 13. Silver, cloisonne enamel: snow crystals. "Made for the lord Daishoji 
 
 in 1828." 5i!^«^^ HiRATA Shunkwan. 
 
 14. Iron, cloisonn^ enamel : Nelumbium bud and seed. 
 
 15. Shakudo nanako : the Takara-mono (precious things) in cloisonne 
 
 enamel. Signed Kunihiro. 
 
 16. Iron, enamelled : discs and gold filigree. 5?^«^^HlRATA Harunari, on 
 
 an iron guard, sigtiedhy MIOCHIN Munesada. 
 
 17. Shakudd grained on one side, shibuichi on reverse: fan mounts in 
 
 cloisonne enamel. 
 
 t This piece is in Case IIL, 5 — 12. 
 
7 ^^-^^ ^• 
 
 1 8. Sentoku : Persimmons in high relief in enamel. 
 
 19. Iron : Loquats in coloured stones. Signed Natsuo. 
 
 20. Shakudo : enamelled and damascened clouds. Sigried Akasaka 
 
 Tadatoki. 
 
 21. Iron : paulownia leaves pierced, and in green enamel. 
 
 22. Bronze : lespedeza engraved ; dragonfly and butterflies in enamel. 
 
 Signed Hakurioken Katsuoki. 
 
 23. Shakudo, nanako : nanten branch in gold, coral berries, malachite rock. 
 
 Signed HORIYE Okinari. 
 
 24. Sentoku : fish in red copper, Haliotis in ivory. Signed Tsunenobu. 
 
 On reverse, basket engraved, loquats in gold. Signed Yamada 
 Morinobu. 
 
 25. Red copper : demon sheltering behind a hat against the exorcism of 
 
 beans at the new year. Signed FURUKAWA Genchin. 
 
 26. Bronze : a crane. Signed Haruaki Hogen. 
 "27. Various associated metals. Signed Shunsui. 
 •28. Imitation of guri lacquer. 
 
 29. Mokume imitating Tagayasan wood from China : a hare in shakudo, and 
 
 a plant with gold berries. Signed Shoami Morikuni. 
 
 30. Copper, gilt, with diaper in shakudo, imitating carved black lacquer. 
 
 31. Sentoku : carp in shibuichi and waterfall. Signed Iwamoto Konkwan. 
 
 32. Iron : pine trunk with gold creepers, ants in shakudo. Signed Omoki 
 
 Teruhide. 
 
 33. Shakudo : waves, with fishes in various metals. Signed O.MORI Teruhide, 
 
 dated 1777. 
 
 34. Iron and shibuichi : Wind-god (Futen) with silver bag. Signed Hokio 
 
 Kiyoshige, dated 1868. 
 
 35. Shakudo: flat inlays of flowers in various metals. Si^^iedlso^^ Kazuhide. 
 
 36. Sentoku : Howo, Paulownia, &c., flat inlays of various metals. 
 
 Signed Kunimasa of Buyo. 
 
 37. Iron : dragonflies in intaglio. Signed UUKV ADA. 17th century. 
 
 38. Shibuichi, nanako : procession to mountain temple. Signed UyemurA 
 
 Masumoto. 
 
 39. Iron : a serpent of copper round piece of decayed wood, attacking a 
 
 silver frog. Signed Michinaga. 
 
 40. Red copper : Yebisu, with a tai fish, the rod forming outline of guard. 
 
 Signed Biju. 
 
 41. Iron : the " Hour of the Ox." ^ir^w^^ Tsuneyo. 
 
 42. Shibuichi: Taira no Tadamori and the priest in the rain. 5«^«^^Seiri6ken 
 
 Shoju. 
 
 ♦These pieces are in Case III., 5 — 5 and 15. 
 
Case I. 8 
 
 43. Sentoku : bears in shakudo ; winter. Signed Yoshimori. 
 
 44. Iron : basket work, pierced in two directions. 
 
 45. Iron : a triton and shield of arms. SignedTs,\i]\ Gwanriu of Nagasaki. 
 
 46. Iron, pierced : a dragon. Signed HiTOTSUYANAGI Tomoyoshi. 
 
 47. Shibuichi : silver eagle and two monkeys. Signed HiTOTSUYANAGI 
 
 Tomotoshi. 
 
 48. Iron : peonies, ground of Gyobu work. Signed Umetada Narimasa. 
 
 49. Iron: a cock in high relief fighting his reflection in a mirror; flat inlays of 
 
 various metals. Signed Jukokusai ISHIGURO Masatsune (1760-1828). 
 
 50. Sentoku and red copper : a carp, irises. Signed Yanagawa Mitsuaki. 
 
 5 1. Iron and red copper : Mandarin duck in various metals. Signed KiKUOKA 
 
 Yukinobu. 
 
 52. Silver, pierced and chased : a serpent. Signed Tomonobn. 
 
 53. Shakudo, nanako : sakura flowers. 
 
 54. Shibuichi, border of damascened iron : monkey, crab and persimmons 
 
 in relief; various metals. 
 
 Lent by Mr. E. Gilbertsoti. 
 
 7 Collection of Six* Tsuba. 
 
 Lent by Mr. A. H. Church. 
 
 8 Collection of Seven Arrow Heads (Yq/iri). 
 
 Lent by Mr. A. H. Chirch. 
 
 Case II. 
 
 1 Collection of Six Kozuka. Examples of cloisonne enamel. 
 
 Lent by Mr. E. Gilbertson. 
 
 2 Collection of Fourteen Kozuka. Designs of fish in relief in various 
 
 metals. 
 
 Lent by Colonel R. Goff. 
 
 3 Collection of Six Kozuka. Examples of cloisonne enamel. 
 
 Lejit by Mr. E. Gilbertson. 
 
 4 Collection of Nine Kozuka. Chased, and with reliefs of various metals. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 5 Collection of Ten Kozuka. Chased, and with reliefs of various metals. 
 
 Lent by Mr. E. Gilbertson. 
 
 * Four of these are signed: (i) Kazumitsu ; (2) Tomohisa ; (5) Shoatni Masanori ; 
 (6) Tatsutoshi. 
 
9 Case II. 
 
 6 Collection of Seventeen Menuki and One Ojim£. In red copper, 
 
 silver, gold and shakudo. 
 
 Lent by Mr. M. B. Huts/i. 
 
 7 Collection of Sixteen Kozuka. In various metals, chased, inlaid, and 
 
 with reliefs. 
 
 Lent by Mr. H. S. Trozver. 
 
 8 Collection of Forty-five Kozuka. In various metals, chased, inlaid, 
 
 encrusted, damascened and enamelled. 
 
 Lent by Mr. H. S. Trower and Mr. E. Gilbertson. 
 
 9 Collection of Fourteen* Tsuba. Chiefly of flat pierced work in iron ; of 
 
 early date. One is copper, and three are inlaid or encrusted with bronze. 
 
 Lent by Mr. A. H. Church. 
 
 10 Collection of Fifteen Kozuka with Blades. In various metals, 
 
 decorated in relief. 
 
 Lent by Mr. Win. C. Alexander. 
 
 10a Two KOGAI OF Shakudo and Shibuichi. Chased and encrusted. 
 
 Lent by Mr. H, S. Trower. 
 
 11 Collection of Thirty-two Fuchi-Kashira. 
 
 1. Sentoku, pierced : monkeys. Signed Mitsuhiro of Yagami, Hishii. 
 
 2. Red copper, nanako: bats in shakudo and gold. Signed Hidemitsu. 
 
 3. Shakudo, nanako: two temple musicians. Signed Natsuo. 
 
 4. Shakudo, nanako : maple leaves and plum blossoms. Signed Gekkindo 
 
 Masatatsu. 
 
 5. Shakudo, nanako: birds on willow. .Sz^^af Kawa Hideoki. 
 
 6. Red copper, shakudo rim: flight of crows in shakudo. 5?^^^ Nagatoshi. 
 
 7. Various metals: head of Tengu king; tree with straw rope and gohei. 
 
 Signed Bunsendo Atsuoki. 
 
 8. Shakudo, nanako: aniwo; a shrine inscribed Rio-daishi. SignedYJbs^nszx 
 
 Katsura Munechika. 
 
 9. Copper, nanako: a crane; plum blossom. 5?^^^ GOTO Mitsutada. 
 ID. Copper: the head of a giant. Signed Masayoshi. 
 
 11. Sentoku: dragons and rope. Signed Yamao. 
 
 12. Shakudo: dragonfly and sprays of magnolia blossom. .S?*^*?^ Masaharu. 
 
 13. Sentoku, nanako: ears of rice in shakudo. Sz^^^Taizan Motoaki. 
 
 14. Copper: warriors in flat inlays. Signed Shummei Hogen. 
 
 15. Sentoku: cranes, clouds, and landscape. Signed Omori Teruhide. 
 
 16. Shibuichi: Chinese general, attendant, and old horse. Signed TSUCUIY A 
 
 Takechika. 
 
 • One of these is signed: (14) Masanaga. 
 
Case IT. lo 
 
 17. Shakudo and copper : symbols and scrolls in translucent enamels. 
 
 Signed HiRATA Haruyuki. 
 
 18. Copper: fret pattern and kiri badge damascened in gold. 
 
 rp. Silver: maple leaves and cherry blossoms. Signed FUJII Yoshikazu. 
 
 20. Shakud5, nanako : banana leaves in gold, shakud5 and silver. 
 
 Signed KUWAMURA Genzayemon Katsuhisa. 
 
 21. Shibuichi: chrysanthemums in relief, gold dewdrops. Signed Tomoyuk\. 
 
 22. Red copper, grained : lilies in silver. 
 
 23. Silver: dragon's head in clouds. 5«^«^^ Kwansai. 
 
 24. Shibuichi: head of a giant; on the fuchi, a warrior balanced on giant's 
 
 finger. Signed Shozui (at the age of 73). 
 25 Shibuichi: three birds in various metals. 5?^^^^/ Omori Teruhide. 
 
 26. Iron: boats and figures in gold relief. JS'i!^;^ Joshinsai Kiyonori. 
 
 27. Shibuichi: Kusunoki Masashige, and his son with roll. Signed Sessai 
 
 Toshimasa. 
 
 28. Shibuichi: groups of Karashishi in bold relief. 6"z^«^^6morI Hidetomo. 
 
 29. Shibuichi: two Rakan. Signed YiA.'^ilYA.MA.'M.nnemich.i. 
 
 30. Shakudo, nanako: clouds and waves. Signed GOTO Ichijo. 
 
 31. Olive bronze: dragons in low relief. Signed Rinsendo. 
 
 32. Shakudo, grained surface: plum blossoms in silver and gold relief. 
 
 Lent by Mr. H. S. Trower. 
 
 12 Collection of Forty-four Kozuka. In various metals, chased, inlaid, and 
 with reliefs in metal. 
 
 Lent by Mr. E. Gilbertson and Mr. H. S. Troxver. 
 
 18 Collection of Fourteen* Tsuba. Two are of flat pierced work in iron, of 
 
 early date ; one has flat inlays ; one is encrusted with bronze wires ; one is 
 
 of sentoku with persimmons in relief; one is watered iron ; the others arc 
 
 variously pierced, chased, &c. 
 
 Lent by Mr. A. H. Church. 
 
 Case III. 
 
 1 Collection of Fifty Tsuba. 
 
 1. Iron, chased : a dragon and waves in relief, encrusted with silver and 
 
 gold. 
 
 2. Iron, chased and pierced : gourd-vine in relief, encrusted with silver and 
 
 gold. 
 
 3. Iron, chased : a mythical animal and a stand. Signed Umetada. 
 
 •Seven of these are signed: (5) Akasaka Tadatoki ; (7) Kiyofusa; (10) Moritoshi; 
 (11) Masachika ; (12) Sugiyama Atsushige ; (13) Nakai Zensuke Tomotsunej (14) Takahashi 
 Masatsugu. 
 
II Case III. 
 
 4. Iron, chased and pierced : dragons and open-work arabesques. 
 
 5. Iron, chased : dragons in relief on powdered gold ground. 
 
 6. Iron, pierced : a swan in outline (an Akasaka guard), 
 
 7. Iron, pierced and chased : plaited basket of bamboo. 
 
 8. Iron, pierced : a horse in outline. Signed HASHIMOTO Masatoki. 
 
 9. Iron, pierced : conventional ornaments in enamel (HiRATA school). 
 
 10. Iron : cherry blossoms in enamel and pierced work (HiRATA school). 
 lo*. Iron : foliage of copper, bronze and silver, flat inlay. 
 
 11. Iron : foliage inlaid in silver and bronze. 
 
 12. Iron, pierced and chased : three masks. Signed Kinai of Echizen. 
 
 13. Iron : encrusted with horses in gold of two colours. 
 
 14. Iron, pierced : encrusted with arabesques in gold. Signed Shoami 
 
 Dennai, of Akita, in Dewa. 
 
 15. Iron, chased : with bronze tiger in relief, the moon and clouds. 
 
 16. Iron : encrusted with coral, gold and green enamel ; a camellia tree. 
 
 17. Iron, shakudo rim : a centipede. 
 
 18. Iron, pierced and chased : cherry tree in flower. Signed SUNAGAWA 
 
 Masayoshi. 
 
 19. Iron, pierced and chased : three chrysanthemum flowers with foliage. 
 
 Signed Kinai of Echizen, aged 73. 
 
 20. Iron, pierced and chased : two dragonflies. 
 
 21. Iron, chased : an eagle and a monkey. Sighted Kawaji Tomomichi of 
 
 Hagi, Choshu. 
 
 22. Iron, chased : a fisherman, lake and mountains. Signed Nakai 
 
 Tomonobu. 
 
 23. Iron, chased and pierced : a tiger striped with gold. Signed Ikkin 
 
 after the design of Masayoshi. 
 24- Iron, chased : a dragonfly and grass. Signed Hoyen Kazutomo. 
 
 25. Iron : cobweb in silver with leaves, pine on reverse. 5'?^«^^Seiriusai Shuju. 
 
 26. Iron : cherry blossoms in silver, gold moon. Signed Ichigiosai. 
 
 27. Sentoku : flat inlays of hydrangea flowers in shakudo. 
 
 28. Sentoku : flat inlays of a vine in shakudo. 
 
 29. Sentoku : flat inlay of an arabesque in shakudo." 
 
 30. Sentoku : a toad in iron in relief. Signed Semposai. 
 
 31. Sentoku : a carp in relief 
 
 32. Sentoku : shells in relief of various metals. Signed Otowa, KiKUGAWA 
 
 Nampo Hisahide. 
 
 33. Sentoku: silver egrets in relief 5z]^^^ MiKAMI Yoshihide. 
 
 33*. Sentoku: silver egrets, water-lilies and leaves in shakudo and gold in 
 relief. Signed Yasuchika. 
 
 34. Mokume of copper and shakudo, pierced and chased with shakudo rim : 
 
 design of millet. Signed Shoami Morikuni of Matsuyama, lyc. 
 
Case III. 12 
 
 35. Red copper: an octopus in shakudo relief. Signed ]och\)oji. 
 
 36. Silver: conventional waves. Signed Yoshihisa. 
 
 37. Silver : monkeys in shibuichi and red copper. Signed AzUMA Masutsune 
 
 and Teruhide ; monkeys only by the latter. 
 
 38. Silver: cherry blossoms on a ground scattered with snow crystals. 
 
 Signed Kiyoteru. 
 
 39. Shibuichi: a flight of chidori. Signed \r{\toc\n\idi. 
 
 40. Shibuichi : pierced and chased ; a crowd of boars. Signed Mitsuhiro of 
 
 Yakami, Hishu. 
 
 41. Shibuichi, iron rim: a toad in shakudo outline. Signed Juso Hogen, 
 
 Takahashi Toshitsugu, aged 6y, and dated 1870. 
 
 42. ShakudS in imitation of serpent skin, with paulownia men in gold. 
 
 Seal Chika. 
 
 43. Shakudo: four No masks in relief in various metals. ^it^^aT Toshiyoshi. 
 
 44. Shakudo: five rats in different metals. 
 
 45. Shakudo: chrysanthemum designs. 
 
 46. Shakudo: an egret in silver. Signed Issho Nakagawa Katsuzane. 
 
 47. Shakudo: a landscape encrusted with various metals. Signed SOMEYA 
 
 Tomonobu. 
 
 48. Shakudo: encrusted with bamboo, plum, chrysanthemum and iris in 
 
 gold, silver and shakudS. Signed GOTO Ichijo. 
 
 Lent by Mr. S. Bing, Paris. 
 
 2 Collection of Twenty-eight Tsuba. 
 
 1. Sentoku : insects in bronze. Signed GOTO Mitsuhira. 
 
 2. Sentoku : lobster in relief. Signed Kazusada. 
 
 3. Iron, chased and pierced : lobster. Signed Munenori. 
 
 4. Bronze: butterflies in various metals. S igfied Shummei Hogen, dated 1842. 
 
 5. Red copper : cherry blossoms and stream. Signed YOSHIOKA Terutsugu. 
 
 6. Iron, chased : two carp. Signed Seiriuken Eiju. 
 
 7. Iron : vases of flowers and monkeys inlaid. Signed Nagayoshi. 
 
 8. Iron : vases of flowers inlaid. Signed Nagayoshi. 
 
 9. Iron : vine and monkeys inlaid. Sz^w^a? Toshiharu of Yedo. 
 
 10. Iron, chased : gourds, flowers and leaves. Signed Yuosai. 
 
 11. Iron, chased : a serpent. Signed '^i^mye. 
 
 12. Shibuichi: Bodhi Dharma. .Sz^w^^ Shojo Temmin. 
 
 13. Shibuichi : cock and hen, leaves in enamel. Signed Yamamoto 
 
 Riurinsai Tomoyasu. 
 
 14. Iron, pierced and chased : bean-pods. 
 
 15. Iron: enamel (HiRATA school). 
 
 16. Shakudo : gold inlay. 
 
 17. Iron, chased in open-work arabesque {Sukibori style). 
 
13 Case III. 
 
 i8. Iron : contour of a dove. Signed Kl no Munemasa. 
 
 19. Shakudo : scattered cherry blossoms. 
 
 20. Bronze gilt : turquoise enamel border, dragons. 
 
 21. Iron, chased : street scene, ox-carts, horsemen, &c. 
 
 22. Sentoku, chased : two mythical animals. 
 
 23. Iron, chased : a rabbit. 
 
 24. Sentoku : peonies and rabbit in the grass. Signed Yasuchika. 
 
 25. Iron : tree in shakudo. 
 
 26. Iron : encrusted with drops of silver. 
 
 27. Iron, watered. Signed MIOCHIN Kl no Yoshishige. 
 
 28. Iron : two personages with an animal. Signed Tetsugendo Shoraku. 
 
 Lent by Mr. E. L. Montefiore, Paris. 
 
 3 Collection of One hundred and twenty-nine Sliders {pjimi\ 
 
 These were used chiefly to make taut the cord of the Inro, and so to 
 
 draw its several parts together. The Ojime shown are of various metals — 
 
 gold, silver, copper, shibuichi, shakudo, bronze, iron, and pewter. They are 
 
 decorated by many different processes and with many different materials, 
 
 and afford admirable examples of skill and felicity of treatment. Some of 
 
 the damascened iron Ojime are by Komai. Amongst the signatures comprised 
 
 in this series will be found those of Kazuyuki, Masaharu, Masakazu, 
 
 Nagayoshi, Nobukiyo, Sanehiko, and Toshinaga. A few of the specimens 
 
 belong to the 17th century, but the great majority to the 18th and early part 
 
 of the 19th. 
 
 Lent by Mr. A. H. Church. 
 
 4 Collection of Nine Metal Netsuk£. 
 
 Lent by Mr. H. S. Trower. 
 
 5 Collection of Fifteen specimens illustrative of Patinated, Etched, 
 
 and associated Metals. 
 
 1. Tsuba in mottled shakudo and red copper. 
 
 2. Hikite in red copper. 
 
 3. Hikite in olive bronze. 
 
 4. Hikite in red copper. 
 
 5. Tsuba in mottled metals — mizu-nagashi. 
 
 6. Tsuba in shakudo. 
 
 7. Tsuba showing patina of magnetic oxide of iron. 
 
 8. Tsuba showing etched and watered iron. 
 
 9. Tsuba of fifteen alternate layers of silver and red copper, pierced 
 
 obliquely. 
 
 10. Tsuba with etched bronze ground. 
 
 11. Tsuba imitating Guri lacquer in layers of shakudo and red copper. 
 
Case III. - 14 
 
 12. Tsuba imitating Guri lacquer in layers of shakudS and shibuichi. 
 
 13. Tsuba of mottled and plaited metals — mizu-nagashi. 
 
 14. Tsuba with mosaic work of inlaid metals. 
 
 15. Tsuba imitating Guri lacquer. 
 
 Lent by Messrs. Gilbertson, Salting, Tomkinson and Church. 
 
 Case IV. 
 Bponze, Iron and Copper Vessels and Opnaments. 
 
 1 Bowl. Octagonal, on four feet. Bronze casting. Basket work, with scattered 
 
 insects and snails in relief. Seals, " Seimin iru," and "Ki-6." Cast by Seimin. 
 
 Lent by Mr. G. Salting. 
 
 2 Hana-ik£. Bronze casting. Dragon, with tama in clouds. Seal, " Toiin iru." 
 
 Cast by Toun. 
 
 Lent by Mr. G, Salting. 
 
 8 Hana-ik£. Bronze casting. Stand of three tortoises and waves. Seal, " Seimin 
 iru," Cast by Seimin. 
 
 Lent by Mr. Stuart Samuel. 
 
 4 HANA-lKfi. Bronze casting. Diaper of fir needles, shippo design. SignedWuVytAn 
 
 Toiin. 
 
 Lent by Mr. Stuart Samuel. 
 
 5 Hana-IK£. Flower vase. Bronze (karakane) casting. Lower surface of bowl in 
 
 imitation of the grain of stone (ishime). Support, a dragon. Signed Gido. 
 
 Lent by Mr. Stuart Samuel. 
 
 6 Yakwan, or kettle and heater. Bronze etched. Lespedeza, chrysanthemum, 
 
 platycodon, &c., in low relief. 
 
 Lent by Mr. Wm. C. Alexander. 
 
15 Case IV. 
 
 7 TABAKO-IRfi. Iron, wrought. Kettle turning into a badger. Signed IWAI Hosaku. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 8 TABAKO-lRfi. Iron, wrought. Kettle turning into a badger. Signed MloCHi'a 
 
 Munesuke. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 9 KoRO. Iron, cast and wrought. A crab. Signed MIOCHIN Muneyoshi. 
 
 Lent by Mr. E. L. Montefiore. 
 
 10 Bowl, with cover in form of helmet. Iron, wrought. Signed MioCHiN Nobuiye. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 11 TabaK0-ir£. Iron, wrought. A toad. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 12 Okimono. Bronze casting. A dragon. 
 
 Lent by Mr. E. L. Montefiore. 
 
 18 Okimono. Iron, wrought. A cock, with feathers separately worked. Signed 
 
 MioCHiN Munefusa. 
 
 Lent by Mr. Stuart Samuel. 
 
 14 Okimono. Iron, wrought and cast. A crayfish (Ise-ebi), Palinurus Burger!. 
 
 Lent by Sir Charles Robinsoti. 
 
 15 KoRO. Bronze casting. Dragon holding a crystal ball (tama). 
 
 Lent by the Hon. W. F. B. Massey-Mainwaring. 
 
 16 Vase. Iron. Gold and silver dragon in high relief, neck with diapers of gold 
 
 and silver inlays and plaques of enamel. Signed Ittosai Kanevasu Masatoshi. 
 
 Lent by Mr. M. Tomkinson. 
 
 17 Okimono. Bronze casting. A mermaid. 
 
 Lent by Mr. Wm. Anderson. 
 
 18 Okimono. Iron, cast and wrought. A crab. 
 
 Lent by Mr. Wm, C. Alexander. 
 
Case IV. 1 6 
 
 19 Choshi. Vessel for warming sake. Iron casting. Characters for " happiness " 
 
 and " longevity," in relief 
 
 Lent by Mr. R. Phene Spiers. 
 
 20 Okimono. Iron, partly wrought and partly cast. A peacock : the tail may be 
 
 raised, and is then supported by a spring. 
 
 Lent by Mr. H. S. Trower. 
 
 21 Shuro, or portable hand-warmer. Copper, pierced cover. 
 
 Lent by Mr. T. W. Cutler. 
 
 22 Ya-kwan. Vessel for heating water. Iron casting, with patches of bronze in 
 
 imitation of gold. The felicitous combinations of pine, bamboo and plum 
 (sho-chiku-bai), and crane and tortoise (tsuru-kame), in relief. 
 
 Lent by Mr. Stuart Samuel. 
 
 23 KORO, in the form of a flying goose. 
 
 Lent by Colonel Goff. 
 
 24 Tessen. War fan. The outer ribs (oya-bone) of iron, inlaid with silver 
 
 (hira-zogan). Chrysanthemum and paulownia badges, with diapers and 
 
 arabesques. The front of the fan bears a representation of the rising sun 
 
 (hi-no-maru), and the back of the moon (tsuki-no-maru), both on a black 
 
 ground. 
 
 Lent by Mr. Edward Dillon. 
 
 25 Small Fan-shaped Box. Iron, with silver edges, inlaid in silver (hira-zogan). 
 
 Cherry flowers floating down a stream. Handle of box, a cherry-bud 
 
 in silver. 
 
 L^nt by Mr. J. M. Swan. 
 
 26 HANA-IKfi. Flower vase in the form of a basket. Bronze (karakane), with 
 
 black patina. 
 
 Lent by Mr. F . Yeats Edwards. 
 
 27 Te-SHOKU. a hand candlestick. Iron inlaid with silver (hira-zogan). Peony 
 
 flowers and foliage arabesques. 
 
 Lent by Mr. R. PherU Spiers. 
 
17 Case IV. 
 
 28 Okimono. Ornament in the form of a crab. Wrought iron, with eyes of sentoku. 
 The claws, &c., with moveable articulations. Signed Hokoku. 
 
 Lent by Mr. M. Toinkinson. 
 
 29 HANA-lKfi. Flower vase, one of a pair. Bronze (sentoku, with patina to 
 imitate the dark brown bronze karakane). With copper, silver and 
 shakudo inlay.s. Birds, reeds and moon. Signed (see Case VI., No. 34). 
 
 Lejti by Mr. J. M. Swan. 
 
 80 Hl-BACHI. Brazier. Hammered copper. Encrusted with chrysanthemum and 
 
 paulownia (kiku and kiri) badges and chrysanthemum flowers in copper and 
 
 sentoku in repoussd work (uchi-age). Cover, pierced and encrusted with the 
 
 same decorations. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 31 Okimono. Bronze (karakane) casting. In the form of an octopus humorously 
 represented holding a fan and performing a dance. 
 
 Lent by Mr. Stuart Samuel. 
 
 82 KORO. Incense burner, in the form of a mantis (kama-kiri). Bronze (karakane) 
 cast and chased. Signed Seimin iru. Cast by Seimin. 
 
 Lent by Mr. E. L. Montefiore. 
 
 33 Okimono. Ornament, in the form of a gigantic species of prawn (Ise-ebi). 
 
 Palinurus Burgeri. Copper. All the articulations of the legs, tail, antennae. 
 
 &c., are perfectly movable. 
 
 Lent by Mr. J. M. Szvan. 
 
 34 Hon. Tray. Silver chased and inlaid. Chrysanthemum inlaid in shakudo and 
 
 shibuichi (hira-z5gan). Orchids chased and similarly inlaid. Border of tray 
 
 pierced and chased. Signed Katsuhiro. 
 
 Lent by Mr. S. Bing. 
 
i8 
 Case V. 
 
 Bronze Vessels and Opnaments, Arnioup, and Sivopds. 
 
 1 Flower Tazza. Bronze. Cranes and clouds in relief, on stand representing 
 
 conventional waves. Seal, T5ryosai.* 19th century. 
 
 Lent by Colonel Goff. 
 
 2 & 4 Candlesticks. Bronze. Open-work, with design of paulownia. 
 
 Lent by Sir Trevor Lawrence. 
 
 3 Flower Tazza. Bronze. Decoration of bats and fungi. Seal, Tounsai iru. 
 
 Cast by Toiin. Beginning of 19th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 5 Vase. Bronze. Decoration of flowering plum branch. Above and below, 
 
 diapers with small dragons. 
 
 Lent by Mr. M. Tomkinson. 
 
 6 Vase. Bronze. Decoration of cloud and key patterns, elephant-head handles. 
 
 A Chinese date of the Ming dynasty on the neck, but probably Japanese, 
 
 Lent by Mr. W. Hardttig Smith. 
 
 7 Vase. Hammered copper (Hiroshima ware). Pattern in relief (appliqu^) round 
 
 neck. Key pattern engraved around body. 
 
 Lent by Mr. G. Salting. 
 
 8 Vase, with single ring for hanging (Kake-hana-ike.) Bottle-gourd shape, 
 
 deeply fluted. Bronze, with red patina. 
 
 Lent by Mr. Stuart Samuel 
 
 9 Flower Tazza. Bronze. The stand decorated in high and full relief, with 
 
 carp leaping among waves. Signed, Yoshimichi (or Gido). 
 
 Lent by Colonel Goff. 
 
 10 Basin-shaped hammered Vase, the hammer mark showing and forming 
 pattern. Reddish brown copper. Supported by three Chinese boys. 
 
 Letit by Mr. Alfred Cock. 
 
 * This seal, in Japanese bronzes, forms part of the casting. The letters are generally in high 
 relief within a square frame (see No. 26 in this Case, where there is a second signature on the 
 side). 
 
19 Case V. 
 
 11 Vase, with wide rim. Bronze, with greyish brown patina. Decoration of 
 
 conventional leaves. 
 
 Lent by Mr. G. Salting: 
 
 12 Flower Tazza. Yellow bronze (sentoku). Pine needles and small con- 
 
 ventional birds (chidori) on a fluted ground resembling the calyx of a flower. 
 Inscribed " Juryosai Somin iru." Cast by Somin. Early 19th century. 
 
 Lent by Mr. G. Salting, 
 
 13 Flower Tazza. Bronze, with dark patina. On the tazza, flying cranes in 
 
 high relief On the stand, freshwater tortoises among conventional waves. 
 
 Inscribed, both on the stand and tazza, " Toiin iru." Cast by Toun. Early 
 
 19th century. 
 
 Lent by Mr. G. Salting. 
 
 14 KoRO. Bronze incense burner from the front of a Buddhist shrine. Decoration 
 
 of dragons in high relief. A Chinese lion (kara-shishi) on the top. Inscribed 
 " Somin iru." Cast by Somin. (Similar to Case VII., No. 19.) 
 
 Lent by Mr. F. Yeats Edwards. 
 
 15 Shallow Bowl, with handle. Bronze. Dragon and clouds in relief 
 
 Signed Tanchosai. 
 
 Lent by Mr. J. M. Swan. 
 
 16 KoRO. Incense burner of yellow bronze (sentoku), the yellow ground only 
 
 appearing in patches, in imitation of the gold in old Chinese vases. The 
 decoration entirely of bamboo leaves and stems. A Chinese date of the 
 Ming dynasty on the base, but a Japanese casting. 
 
 Lent by Mr. W. Gowland. 
 
 17 Flower Tazza on stand. Pale bronze ; in imitation of basket work, with a 
 
 trailing convolvulus. The legs to imitate twigs of wood, up which snails are 
 crawling. Inscribed " Toiin iru." Cast by Toiin. 
 
 Lent by Mr. G. Salting. 
 
 18 KoRO. Incense burner. Bronze. In the form of a peacock, with tail feathers 
 
 displayed. 
 
 Lent by 
 
 19 Bowl. Bronze, with dark patina, to imitate a wicker-work basket, standing 
 
 on three branches of bamboo. Signed Yoshimichi (or Gido). 
 
 Lent by Mr. H. J. Pfungst. 
 
Case V. 20 
 
 20 KORO. Large incense burner. Yellow bronze casting, hammered and chased 
 
 on surface ; in the form of a carp, supported by its fins. 
 
 Lent by Mr. F. Yeats Edwards. 
 
 21 Okimono. Ornament of bronze. A squirrel and grapes, on a diapered stand. 
 
 Lent by Mr. F. Yeats Edwards. 
 
 22 Pricket Candlestick. Bronze casting, conventionally representing a boat 
 
 with mast, ropes, and dragon prow ; a man with Korean hat steering. 
 
 Lent by Mr. Stuart Samuel. 
 
 23 Spherical Bowl. Bronze. Decoration of carp, in high relief, darting through 
 
 the water, with other small fish (medaka), and water weeds. The legs to 
 
 represent decayed sticks of wood, covered with the same weeds. Signed Joiin, 
 
 with monogram {kaki/ian). ipth century. 
 
 Lent by Mr. J. M. Swan. 
 
 24 Bowl, used in a lady's toilette. Copper gilt and engraved with flowing designs 
 
 of peonies, with the Tokugawa badge. Lacquered inside. 
 
 Lent by Mr. W. Harding Smith. 
 
 25 Long Necked Vase. Bronze, with rich patina of various shades. Illegible 
 
 Chinese characters on base. 
 
 Lent by Mr. M. Tomkinson. 
 
 26 Flower Vase. Basin shaped. Bronze. Decoration, dragons, hornets and 
 
 conventional clouds, in relief. On a plum blossom in relief on the base, the 
 inscription " Seimin iru." Cast by Seimin, and on the side, " Design of Buncho." 
 
 Lent by Mr. G. Salting. 
 
 27 Okimono. Bronze casting, in the form of a gold fish (kin-gyo). The eyes of 
 
 gold and shakudS inlay. Signed JoUn (in incised characters). 
 
 Lent by Mr. F. A. Satow. 
 
 28 Flower Tazza. Grey bronze, resembling the alloy used for mirrors. The tazza 
 
 calyx shaped, with small medallions containing various animals, on a stand 
 
 to imitate twigs of wood tied together. Inscribed Tounsai. Early 19th 
 
 century. 
 
 Lent by Mr. G. Salting. 
 
 20 Vase. Bronze, with black patina in the shape of a silk treasure-bag, with cord 
 and tassel, supported by three Chinese boys. 
 
 Lent by Mr. H. J. Pfjingst. 
 
2 1 Case V. 
 
 Armoup and Swopds. 
 
 80 Kot£/ Brassart and avant bras, terminating in gauntlet (tetsugai). Chain 
 
 mail over silk brocade, with iron plates working on hinges in the fore-arm. 
 The gauntlet of iron repouss6 to imitate a lion's face. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 81 Guard for fore-arm, used by archers (?). Wood, covered with black lacquer 
 
 and polished fish-skin. Design of sparrows flying behind a bamboo trellis. 
 
 Lent by Sir Charles Robinson. 
 
 32 Mempo. Vizor-shaped mask, the form called shiwa-zura (wrinkled face). Thin 
 hammered iron, of two parts, moving on hinges, the inside lacquered red. 
 Beneath the chin, a metal tube for outlet of perspiration. Below the chin 
 hangs a gorgette (yodare-kake) of two plates of lacquered iron, with cords of 
 coloured silk (odoshi-ge). Signed under chin, MiOCHIN Shikibu Kl no 
 Muneaki. MioCHiN Muneaki, commonly called Shikibu, lived in Yedo 
 1673-1740. Lent by Mr. Wm. C. Alexander. 
 
 83 Kabuto. Pot-helmet or chapel-de-fer. The wrought-iron skull, with remains 
 of lacquer, of simple conical form (dzu-nari), built up of eighteen 
 ribs converging at the top, each with nine rivets (hoshi). In the centre of 
 the crown, a large gilt-brass socket, called hachiman-za, the outer rim 
 (kiku-za) decorated with chrysanthemums ; this part was sacred to the God 
 of War. Behind this a ring with tassel, to which the kasa-jirushi, a flag 
 with owner's badge, was attached. 
 
 To the back of the helmet is attached the top plate of the couvre-nuque 
 (shikoro) to which the two lower plates are attached by silk tassels, these 
 plates are of iron, lacquered black; they are decorated with silk odoshi-ge, 
 and gilt brass ornaments of chrysanthemum flowers and butterflies. On 
 either side of helmet, wing-piece (fuki-gayeshi), with the Tokugawa badge 
 in gilt brass. 
 
 In the position of the crest, a frame of shakudo, the lower part (with 
 the Tokugawa badge) called tsuno-moto, above this rises the harai-date in 
 the shape of a Buddhist Vagra, and in these are inserted the gilt mayedate 
 a'nd the two wakidat^. 
 
 The mask (No. 32) was attached to this helmet. By MioCHiN Muneaki 
 
 (167 3- 1 740). Lent by Mr. Wm. C. Alexander. 
 
 34 NOSE-1'IECE FOR A HORSE. Hammered iron, pierced with openings for nostrils. 
 Open work at the sides to represent a butterfly. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 * The Japanese and European terms used in describing the armour in this Collection have 
 been taken, for the most part, from the Paper by Mr. Conder, in the " Transactions of the Asiatic 
 Society of Japan," Vol. IX. 
 
Case V. 2 2 
 
 35 " Helmet Breaker " (Hachi-wari). A long bar of carefully wrought iron, 
 
 shaped somewhat like the blade of a sword but of considerable thickness, 
 
 and furnished with hilt, guard and scabbard. This weapon is said to have 
 
 been devised and used by Kusunoki Masashig^, a famous warrior of the 
 
 14th century. Signed Shoji Naokatsu. 
 
 Lent by Mr. Wm. Anderson. 
 
 36 Scabbard of Sword. Natural rough wood, with bark, from the hollows of 
 
 which a snake of silver is issuing, and winding round the scabbard. Signed 
 HORITANI Toshimitsu. The cleat (kurikata) in the shape of a fungus. 
 
 Lent by Mr. E. L. Montefiore. 
 
 Armour and Swords continued at No. 49. 
 
 37 Cylindrical Bowl of Red Copper. Decoration, carved in intaglio-rilevato 
 
 on a smooth ground, which is damascened with silver ; howo bird among 
 conventional clouds. The lid with silver handle. 
 
 Lent by Mr. J. M. Swan. 
 
 38 Vase, in the shape of a flower-pot. Bronze covered with fine diaper decoration. 
 
 In the centre of each face, dragons in high relief. Inscribed " S5min iru." 
 Cast by S5min. 
 
 Lent by Mr. G. Salting. 
 
 39 KORO. Incense burner. Bronze, with black patina, in the form of a lion-like 
 
 monster with bird-like claws (compare Case XIX., 6). 
 
 Lent by Mr. Wm. Anderson. 
 
 40 Bowl-shaped Vase for Flowers. Bronze. The body encircled by a 
 
 dragon in high and full relief. Inscribed " Dai Nippon Ky5to ju Toiin iru." 
 Cast by Toiin, a resident in Kyoto, Japan. Early 19th century. 
 
 Lent by Mr. J. M. Swan. 
 
 41 Flower-vase. Bronze, with red and black patina, in the form of the stem of a 
 
 bamboo, up which a snail in various coloured alloys is creeping. Signature, 
 engraved on the base, Chizan. 
 
 Lent by Mr. Alfred Parsons. 
 
 42 Choshi. Cast iron kettle for warming sake. Lid of cloisonn^ enamel, with 
 
 silver knob. 
 
 Lent by Mr. Alfred Cock. 
 
 43 Yakwan. Kettle, with charcoal holder. Pale-brownish bronze with elaborate 
 
 floral decoration in repouss6. The handle of wood with silver mountings. 
 
 Lent by Mr. W. Gowland. 
 
23 Case V. 
 
 44 KoRO. Bronze incense burner in the form of a clam shell resting on a rock. 
 
 Signed Tanchosai, 
 
 Lent by Mr. F. Yeats Edzvards. 
 
 45 Flower Vase. Bronze. In the shape of a stem of bamboo, showing the 
 
 aerial roots upon which a frog is resting. Signed Yoshimichi (or Gido). 
 
 Lent by Mr. F. G. Smith. 
 
 46 Okimono. Bronze, gilt in places; a falcon (iwataka) standing on a rock, one 
 
 claw raised holds a young hare. Signed MlYAO (engraved on an inlaid 
 
 plate of brass). 
 
 Lent by Mr. Constantine Lonides. 
 
 47 Plate. Yellow bronze, with mottled surface, the decoration of black and dark 
 
 brown ; the colours produced, in part at least, by staining, though there 
 is, apparently, in places, an incrustation of shakudo ; nightingale (hototogisu) 
 flying in front of the moon. 
 
 Lent by Mr. Wm. C. Roberts-Austen. 
 
 48 Mirror. Copper-tin alloy, silvered on face. Reverse with conventional 
 
 peonies in relief The mirror is without handle, with scolloped border, and 
 suspended by a cord from a boss on the back. 
 
 Lent by Mr. R, Phene Spiers. 
 
 ApmOUP and ^snOvAs— Continued. 
 
 49 Pair of Stirrups. Iron, inlaid with brass and silver studs, inside lacquered. 
 
 Figure of dragon in the limb of the buckle. 
 
 Lent by Mr. Frank Dillon. 
 
 50 Kabuto. Iron pot-helmet. The head-piece is tall, and furnished with a 
 
 narrow brim. It resembles, and is probably adapted from, a Spanish helmet 
 
 of the 1 6th century. Decorated with a repousse design of conventionalised 
 
 peonies. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 51 Lacquered Sword Stand. Silver mounted. Decorated in gold, with land- 
 
 scapes on a dark wood ground. Drawers and recess in front. Late 17th 
 
 century. 
 
 Lent by Colonel Goff. 
 
 52 Large Sabre (Tachi). With lacquered scabbard inlaid with mother-of-pearl. 
 
 Chased and enamelled metal furniture bearing the Tokugawa badge. 
 
 Lent by Sir Henry Howortli. 
 
Case V. 24 
 
 53 Dirk (Wakizashi) in brocade case. Plain polished black lacquered scabbard. 
 
 Mounts decorated with gold appliqu^ ornament, tsuba of shakudo. 
 
 Lent by Mr. E. L. Montefiore. 
 
 54 Sword Stand. Wood lacquered, with design of peonies. 1 8th century. 
 
 Lent by Mr. Frank Dillon. 
 
 55 Dirk (Wakizashi). Hilt and scabbard lacquered, with raised designs in the 
 
 style of Ritsuo. Charm in archaic characters, and long inscription praising 
 its virtue. Dragon-headed hilt. (Compare Case X., No. 11.) 
 
 Lent by Mr. W. Harding Smith. 
 
 56 Sabre (Katana). With lacquered scabbard. Metal work of furniture in 
 
 imitation of guri lacquer. 
 
 Lent by Mr. Marcus B. Huish, 
 
 57 Two Daggers (Aikuchi). Black lacquer scabbards, one of them ribbed 
 
 (sayagata). Silver mountings with incrustations of various metals. 
 
 Lent by Mr. G. Salting. 
 
 58 Dagger. Scabbard and hilt in black lacquer with decoration of gold lacquer 
 
 in relief. Metal work in shibuichi. 
 
 L^nt by Colonel Goff. 
 
 59 Dagger. Carved wood hilt in imitation of pine bark. Scabbard decorated 
 
 with togidashi ; bamboos in gold on black ground. Metal work in silver also 
 
 decorated with bamboos. 
 
 Lent by Mr. Marcus B. Huish. 
 
 60 Shoulder -PIECE (Sod^). Three plates of iron joined by chain mail, with 
 
 iron appliqu^ decoration of fans, plum blossom and bamboos. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 61 Archaic Sword. With massive wooden hilt and scabbard, carved and 
 
 lacquered ; in the form of a dragon with clinging lotus leaf and with a sword of 
 antique form in his mouth. The blade is decorated with an incised dragon. 
 
 Lent by Sir Henry Howorth. 
 
 62 Dagger. With heavy bronze hilt and scabbard in high relief, to represent a 
 
 dragon-like fish. 
 
 Lent by Mr. W. Harding Smith. 
 
 63 Sabre (Katana). With hilt, guard, and mountings of scabbard in shibuichi, 
 
 encrusted with various metals, scabbard of black lacquer with designs of 
 fishes in coloured lacquer. 
 
 Lent by Mr. Stuart Samuel. 
 
25 Case V. 
 
 64 Dirk. Scabbard lacquered in black and red togidashi ; scattered cherry- 
 
 blossoms. Guard and kozuka cloisonnd enamel. 
 
 Lent by Mr. H. S. Trozver. 
 
 65 Dirk. With hilt and scabbard in carved wood, mountings of lacquered sentoku 
 
 (yellow bronze), decorated with incised arabesques filled in with black lacquer. 
 
 Lent by Mr. A. H. Church. 
 
 66 S\VORD Stand. Black lacquer and wood lacquer-varnished, with designs of 
 
 falcon, plum blossoms in gold and silver lacquer and foil. 
 
 Lent by Mr. H. S. Trower. 
 
 67 Dagger. Hilt and scabbard in black lacquer with cherry blossoms in gold. 
 
 Metal appendages in silver with same design. 
 
 Lent by Colonel Goff. 
 
 68 Dagger. Hilt and mounts in silver. Scabbard in black lacquer, incised to 
 
 represent scattered pine needles. 
 
 Lent by Colonel Goff. 
 
 69 Dirk (Wakizashi). Hilt of damascened iron, scabbard partly lacquered, and 
 
 partly covered with damascened iron. 
 
 Lent by Mr. W. Harding Smith. 
 
 70 Choshi. Kettle for warming sake. Red bronze. 
 
 Lent by Mr, F. Yeats Edwards. 
 
 71 Incense Burner. Red copper lid and base. Shape adapted from that of 
 
 the old Dutch sugar box. Decorated with conventional designs. It is 
 doubtful whether this is of Japanese manufacture. 
 
 Lent by Mr. Alfred Cock. 
 
 72 Covered Bowl. In red copper, with repouss^ medallions. Doubtful if 
 
 Japanese. 
 
 Lent by Mr. Alfred Cock. 
 
 73 Mirror, with handle. In lacquered case. Back decorated with raised 
 
 design of bamboo and a Chinese character. These are visible in the reflection 
 
 from the burnished face. 
 
 Lent by Mr. Wm. Anderson. 
 
 74 Covered Bowl. Red copper with repouss6 lid and incised designs on bowl. 
 
 Doubtful if Japanese. 
 
 Lent by Mr. Wm. C. Alexander. 
 
26 
 
 Case VI. 
 
 Damascened, intapsia, chased and incpusted ivopk in ipon, 
 silvep, bponze and coppep. 
 
 The following terms are used to designate these kinds of work: — 
 
 Zogan : A general name for inlaid work. 
 
 Hira-zogan : Flat damascening. 
 
 Taka-zogan : Incrustation in relief. 
 
 Nunomd-zogan : Damascening in meshes. 
 
 Kin-kise and Gin-kise : Gold and silver applique, thin sheets affixed by 
 
 pressure or friction. Azziminia work. 
 Hori-ag^: Chasing in relief. 
 Uchi-ag^ : Embossing. Repoussd work. 
 
 1 Hana-ik£. a pair of flower vases. Damascene work (zogan). Wrought iron 
 
 inlaid with diapers. Chrysanthemums and floral badges in gold applique 
 (kin-kise). Grapes in relief (taka-zogan). Medallions in flat damascene 
 work (hira-zogan), relief (taka-zogan), and gold appliqud (kin-kise), bearing 
 landscapes and floral combinations with insects. Signed Seki. 
 
 Lent by Mr. Alfred Cock. 
 
 2 Iron Box. In the form of a mirror-box. Damascene work (zogan). Diapers 
 
 in silver. Wistaria, lespedeza and pinks, with a border of fruits and culinary 
 vegetables in low relief, in gold and silver, and silver applique (gin-kise). 
 Signed Kyoto ju Komai sei (made by KOMAI in Kyoto). 
 
 Lent by Mr. R. Plunc Spiers. 
 
 3 Globular Covered Vase. In the form of an incense burner. Wrought iron. 
 
 Damascene work in gold and silver. Lower iron surface, granular (nanako) 
 extending into the upper damascened part in wavy outlines. Decoration, 
 minute diapers in gold, medallions in gold and silver, inlaid (hira-zogan) 
 and appliqud The larger medallions bear views of four Buddhist temples; 
 the smaller, flowers, geometrical patterns, and animal forms in arabesques. 
 The phoenix, carp, crane, and a Chinese bird (onagadori). Signed Nihon- 
 koku Ky5to ju Komai sei (made by KOMAI in Ky5to, Japan). 
 
 Lent by Mr. M. Tonikinson. 
 
27 Case VI. 
 
 4 KORO. Incense burner in the form of a quail. Wrought iron. Midrib of 
 
 feathers in gold appliqu^. Patches of gold appliqu^ on the breast. 
 Attributed to one of the MiOCHIN family of the i8th century. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 5 Covered Box. Iron, cast and wrought, chased and inlaid. A carp (koi) 
 
 rising to the surface of the water, chased in relief (hori-age) in the iron. 
 Water plants and insects inlaid in silver and two kinds of gold. The sides 
 in diapers in silver. Signed Masao. Seal Chiku-in. 
 
 Lent by Mr. J. M. Swan. 
 
 6 Hana-IK£. a pair of vases. Wrought iron. Damascene work. Diaper ground 
 
 in silver, raimon and another fret pattern in bands. One vase decorated with 
 medallions in the shape of a fan (uchiwa), gourd, fan (ogi) and slip of paper 
 (tanzaku) containing landscapes, flowers and fruit in gold and silver inlaid, 
 and appliqud The other with medallions in the shape of a fan (ogi), book 
 (hon), gourd and winecup (sakazuki) containing a landscape, Arashi-yama 
 with its cherry (sakura) trees, the flowering plum, lespedeza and reeds in 
 similar work. Signed Kyoto ju Komai sei (made by KOMAI in Kyoto). 
 
 Lent by Mr. Alfred Cock. 
 
 7 Mamori-BUKURO, with toggle. A bag worn by children in which charms are 
 
 kept. Silver and shakudo. The bag is woven in strips of silver and 
 shakudo in diapers, in imitation of a silk fabric. The toggle is of the same 
 metals inlaid. 
 
 Lent by Mr. Marcus B. Huish. 
 
 8 KoRO. Incense burner. Wrought iron. Damascene work. Ground, diapers 
 
 and arabesques in gold and silver. Butterflies and medallions in gold and 
 
 silver inlaid and appliqud A distant view of Fuji-yama and a sea scene 
 
 with junk in the foreground. Floral medallions and insects on the cover. 
 
 Signed MORIGUCHI. 
 
 Lent by Mr. Alfred Cock. 
 
 9 Box, in the form of oak leaves (kashiwa) Quercus dentata. Wrought iron, with 
 
 insects in high relief (taka-zogan) in silver, gold, shakudo and copper. The 
 
 hinges in the form of a butterfly, in copper, and the clasp, of a spider, in 
 
 silver with gold inlaid. 
 
 Lent by Mr. E. L. Montefiore. 
 
Case VI. 
 
 28 
 
 10 HANA-lKii. A pair of flower vases in the form of gourd-shaped bottles. Silver 
 
 gilt, with silver cords and tassels, chased and inlaid. The phoenix (ho-o), 
 
 with sprigs of paulownia flowers and leaves. The leaves in gold and silver 
 
 (kin and gin-kise) ; the flowers and veins of the leaves inlaid in shakudd 
 
 Signed Ichiyo, with kakihan 
 
 Lent by Mr. Alfred Cock. 
 
 1 1 Hana-ik£. a pair of flower vases in the form of gourd-shaped bottles. Bronze 
 
 (karakane), with damascene work in copper, shakudo and two kinds of gold. 
 
 Sparrows and rice. Fret (raimon) and scalloped bands in hira-zogan. One 
 
 vase Signed Nagano Haruo, the other Signed Gyokkwado Haruo, with 
 
 kakifian. 
 
 Lent by Mr. J. M. Swan. 
 
 12 TSUKA. Sword hilt, with mounts (kashira and fuchi). The sides in yellow 
 
 bronze (sentoku), repouss6 work ^uchi-age) and chased. Bust of Bodhi 
 Dharma (Daruma). Edges, wood in imitation of bamboo. Kashira, 
 repousse, chased and gold and silver inlaid. Head of Bodhi Dharma. 
 Fuchi, yellow bronze. Waterfall and bamboo, in silver and gold, inlaid and 
 chased. Sides Sighted Shozui, edges Signed Hashi-ichi. 1 8th century. 
 
 Lent by Mr, Wm. C. Alexander. 
 
 13 KisEru. Tobacco pipe, with bowl and mouthpiece in silver, chased in high 
 
 relief (hori-age) and gilt. The combination of pine, bamboo and plum (sho- 
 
 chiku-bai). The first being indicated by pine needles and cones, with maple 
 
 leaves, peonies, asters and chrysanthemums. 
 
 Lent by Mr. M. Tomkinson. 
 
 14 Maru-KAGAMI. Circular metal mirror. Cast by the "cire perdue" process. 
 
 Pine, bamboo and plum (sho-chiku-bai) and crane and tortoise (tsuru-kame) 
 
 surrounded by a wave pattern (seigai-nami). 
 
 Lent by Mr. R. Phen^ Spiers. 
 
 15 Mizu-ir£. Water vessel used in writing. Copper and yellow bronze (sentoku). 
 
 Snowy peak of Fuji-yama, in green and white enamel, with indications of 
 
 clouds in gold. 
 
 Lent by Mr. J. M. Swan. 
 
 15a OkimoNO. Silver chased, with gold inlaid. The sea dragon grasping the sacred 
 
 gem. Waves conventionally represented. 
 
 Lent by Mr. Alfred Cock. 
 
29 Case VI. 
 
 16 Small Box. Shibuichi, lined with silver. Damascene work. Chrysanthemums 
 inlaid in various kinds of gold, in silver, shibuichi, shakudo and red copper 
 (hira-zogan). Four of the seven gods of Happiness — Hotel, Fukurokuju, 
 Jurojin and Bishamon — in the above metals in high relief (taka-zogan). 
 Signed Moritoshi and Issanshi (?). 
 
 Lent by Mr. M. Tomkinson. 
 
 17 Stiletto. Blade in the shape of the ancient two-edged sword (ken), sheath 
 
 and hilt of clouded silver, chased in relief with gold and shibuichi inlays. 
 
 Two of the sixteen Rakan (Arhats). Handaka Sonja, holding up his 
 
 alms-bowl from which a dragon with clouds is issuing, with Inkada Sonja 
 
 looking on. Me-kugi orpin, by which the blade is fastened to the hilt, with 
 
 dragon mounts in gold. 
 
 Lent by Mr. E. L. Montefiore. 
 
 18 KUSURI-SAJL Spoon used for medicines by doctors. Silver chased. A dragon 
 resembling crocodile in form. i8th century. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 10 Okimono. Shibuichi, sentoku and copper. Cast and chased. A coolie 
 endeavouring to capture the Thunder God (Rai-jin) under his summer hat 
 The figure of the coolie in shibuichi, with silver inlaid and chased. The hat 
 of sentoku. The Thunder God (Rai-jin) in copper, with gold and shakudo 
 inlays on a cloud of shibuichi. The drum bears the mitsu-tomoye badge 
 in silver and shakudo. Signed Katsuyasu. Modern. 
 
 Lent by Mr. Alfred Cock. 
 
 20 KORO. Silver incense burner in the form of a kirin, one of the four super- 
 natural animals of the Chinese. (Usually translated Unicorn, but the 
 specimen bears two horns). The perforated cover is in the form of the 
 
 carapace of a tortoise. Silver, cast and chased. 
 
 Lent by Mr. Alfred Cock. 
 
 21 KORO. Incense burner. Wrought iron, with arabesques, chased in low relief. 
 
 Decorated with gold appliqud (kin-kise) cloisonne and inlaid work. The 
 
 paulownia badge (go-san no kiri) in gold inlaid. Medallions representing 
 
 chrysanthemums and other flowers, &c., in cloisonne. Signed HiRATA 
 
 Haruyuki, with kakihan. 
 
 Lent by Mr. f. Gurney. 
 
Case VI. 30 
 
 22 Hana-IK£. Flower vase. Bronze, inlaid with silver. Diapers and arabesques, 
 with fret pattern (raimon) in silver, inlaid. Signed Sekis5. 
 
 Lent by Mr, H. J. Pfungst. 
 
 28 Small Box. Silver, with cover of shibuichi. Cover inlaid with silver, shakudS, 
 
 ,gold and red copper (hira-zogan) and chased. Vine with grapes and hornet. 
 
 Sides of shakudo chased to represent the bark of a tree, with convolvulus 
 
 inlaid in copper and silver. 
 
 Lent by Mr. A. H. Church. 
 
 24 Maru-KAGAML Circular metal mirror. Cast by the " cire perdue" process. 
 Pine, bamboo and plum (sh5-chiku-bai), and crane and tortoise (tsuru-kame). 
 
 Lent by Mr. R. Phen^ Spiers. 
 
 25 KiSfiRU. Tobacco pipe. Silver. Bamboo and moon inlaid in shakudo, copper 
 
 and pale gold. 
 
 Lent by Mr. F. A. Satow. 
 
 26 KiSfiRU. Tobacco pipe. Silver bowl and mouthpiece. Cherry tree in bloom, 
 
 the flowers partly hidden by conventional clouds, chased (hori-age). A 
 
 warrior writing the artist's signature on the trunk of the cherry tree ; 
 
 a parody on Kojima Takanori's famous warning to the Emperor Godaigo 
 
 (14th century). Sigtied Ichioken Harutomo. 
 
 Lent by Mr. H. S. Trower. 
 
 27 NETSUKfi. Toggle or button for tobacco pouch. Chrysanthemum flower in 
 silver, with calyx in gold, chased. Signed Masanobu, with kakihan. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 28 FUTA-MONO. Covered bowl. Sentoku. Chased in low relief. Chrysanthemums. 
 
 Signed Kudai Gorozo tsukuru. Made by Gorozo of the 9th generation. 
 
 Lent by Colonel Malet. 
 
 29 Hana-IK£. a pair of flower vases, silver chased. The thousand monkeys 
 
 (sembiki-zaru). Chrysanthemums and arabesques with a band of the 
 
 raimon fret pattern. Signed Ch6-6sai. 
 
 Lent by Mr. Alfred Cock. 
 
31 Case VI. 
 
 80 Tabako-ir£. Tobacco pouch. The clasp (kana-mono) in silver, chased in high 
 
 relief (hori-age). Shakudo, red copper and gold, incrusted and inlaid. The 
 
 seven Fish Spirits supporting a temple bell above the waves. The bead 
 
 (ojime), silver with gold inlaid. A fox, in the guise of an old woman, 
 
 contemplating a trap set for his capture, with various flowers. Signed 
 
 Yasuhiro tsukuru (made by Yasuhiro). 
 
 Lent by Mr. M. Tontkinson. 
 
 81 Saihai. General's biton. A tassel of lacquered paper should hang from the 
 
 upper hole. Metal mounts, copper gilt (kin-mekki), and cloisonne enamel, 
 
 with thin plates of gold inlaid. Badge of a daimio of the Datd family, 
 
 with floral designs and arabesques. 
 
 Lent by Mr. E. Gilbertson. 
 
 32 Mawari-GORO. Incense burner in the form of a ball, containing the holder for 
 the incense, supported by gimbals, so that it remains upright in whatever 
 position the ball is rolled. Shakudo and silver, engraved, chased and pierced. 
 Plum flowers and sprigs of pine. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 38 Small Metal Box. Sentoku. Chased and repoussd work (uchi-dashi). Leaves 
 
 of the lotus (hasu). 
 
 Lent by Mr. Wm. C. Alexandei: 
 
 34 HanA-ik£. Flower vase (one of a pair with Case IV., No. 29). Bronze (sentoku, 
 
 with patina to imitate the dark brown bronze karakane). With copper, silver 
 and shakudo inlays. Egrets and reeds. Moonlight. Signed Kyoto ju Miyabc 
 Atsuyoshi tsukuru (made by MiYABE Atsuyoshi in Kyoto). 
 
 Lent by Mr. J. M. Swan. 
 
 35 Kis£RU. Tobacco pipe. Brass, coated with pewter. Encrusted with paulownia 
 
 badges, dragons and conventional chrysanthemums in copper gilt. 
 
 Lent by Mr. Edward Dillon, 
 
 36 KisfiRU. Tobacco pipe. Metal bowl and mouthpiece. Silver chased in high 
 relief (hori-age), encrusted (taka-zogan) and inlaid (hira-zogen) with shakudo, 
 gold and copper. Cranes and conventional waves. 
 
 Lent by Sir Trevor Lawrence. 
 
Case VI. 32 
 
 37 KisfiRU. Tobacco pipe. Silver bowl and mouthpiece. Waves of the sea chased 
 
 in high relief (hori-age) with anchors inlaid in shakudo and silver, and cables 
 
 in gold, silver and shakudd. 
 
 Lent by Sir Trevor Lawrence. 
 
 87a KiSfiRU. Tobacco pipe in silver, chased, with copper, gold, and shakudo 
 inlaid. Boatmen towing a boat. After Hokusai. Signed Toshiharu. 
 
 Lent by Mr. G. Salting. 
 
 88 SUZURI-BAKO. Writing-box. Copper with a brown patina, with mounts of the 
 
 same metal. Repouss6 work chased, and with pewter "onlaid." The 
 
 conventional lion of the Chinese (Kara-shishi). Mounts with the repouss6 
 
 arabesques characteristic of Hiroshima work. 
 
 Lent by Sir Trevor Lawrence. 
 
 89 Sakazuki. Wine cup. Pewter encrusted with yellow bronze (sentoku), lacquer 
 
 and mother-of-pearl. A Chinese bird (onaga-dori) in lacquer, and flowers 
 of the weeping cherry (shidard-zakura) in sentoku. 
 
 Lent by Mr. R. Phene Spiers. 
 
 40 Okimono. a pigeon perched on a roof-tile. The bird of silver, with plumage 
 
 in enamel and chased, and feet and beak of sentoku. The tile of sentoku 
 bears the mitsu-tomoye and a creeping plant in enamel and silver. 
 
 Lent by Mr. Marcus B. Huish. 
 
 41 Waki-ZASHI. a short sword. The sheath (saya) of wood coated with 
 
 transparent lacquer, with lotus leaves and fruits, and dragonfly in lacquer. 
 
 The hilt (tsuka) is covered with shark-skin, over which is wound a black 
 
 lacquered cord. The metal mounts and ornaments are of shibuichi repouss^ 
 
 and chased, with gold and red copper inlaid (taka-zogan and hira-zogan). 
 
 Flowers, leaves and fruits of the lotus, and frogs, variously represented. The 
 
 kozuka is Signed Hideaki. 
 
 Lejit by Mr. W. Harding Smith. 
 
 42 Box, for a Circular Mirror. Copper, repoussd, chased and enamelled. On the 
 
 cover, the Phoenix (ho-o), chased, and in various coloured enamels. Sides, 
 
 chased. Conventional leaves and flowers. 
 
 Lent by Mr. R. Phene Spiers. 
 
 48 Te-SHOKU. a hand candlestick. Wrought iron, inlaid with silver and chased. 
 
 Fans on a ground of wavy lines, representing water. One of the fans bears 
 
 a badge of the Dat6 family of Daimyos. 
 
 Lent by Mr. J. M. Swan. 
 
33 
 
 Case VII. 
 
 Bponze Vessels and Opnaments. 
 
 1 Incense Burner Okimono. Bronze. Wild goose standing upon a rock 
 
 surrounded by conventional waves. In front is an illegible seal. 
 
 Lent by Mr. Wni. C. Alexander. 
 
 2 Incense Burner Okimono. Bronze. Egret standing upon lotus leaf. The 
 
 wings and back and the lotus stand are decorated with champlev^ enamel. 
 
 Lent by Mr. Wm. C. A lexander. 
 
 3 Flower Vase. Bronze. With handles. 
 
 Lent by Mr. G. Salting. 
 
 4 Flower Vase. Bronze. Modified gourd shape. With handles. 
 
 Lent by Mr. G. Salting. 
 
 5 Okimono. Bronze. Rat with chestnut. Signed Ma.sdXsnn6. 19th century. 
 
 Lent by Mr. Ricliard Mills. 
 
 6 Incense Burner Okimono. Bronze. Goose. Seal, Masakatsu, metal 
 
 caster of the Southern Kii Province. 19th century. 
 
 Lent by Mr. Richard Mills. 
 
 7 Incense Burner Okimono. Bronze. Crab. 
 
 Lent by Mr. E. L. Montefiore. 
 
 8 Incense Burner Okimono. Bronze. Dragonfish, with tasselled cord in 
 
 mouth. Inscription referring to the legend of the carp becoming converted 
 
 into a dragon when successful in leaping the cataract — an emblem of 
 
 successful effort. 
 
 Lent by Sir Trevor Lawrence, 
 
 9 Incense Burner Okimono. Bronze gilt in places. Two rats, 5^^/ Meih5. 
 
 17th century. 
 
 Lent by Mr. Wtn. C. Alexander. 
 
 10 Flower Vase. Tsuru-kubi (crane's neck) form. Bronze, with dark red patina 
 
 Lent by Mr. M. Tomkinson. 
 
 11 Incense Burner Okimono. Bronze. Hen. 
 
 Lent by Sir Trevor Lawrence. 
 
Orse VII. 34 
 
 12 Okimono. Bronze. Mamushi (Japanese adder) and toad. Signed Dosai. 
 
 19th century. 
 
 Lent by Mr. J. M. Swan. 
 
 13 Incense Burner Okimono. Cock. (Companion to No. 1 1.) 
 
 Lent' by Sir Trevor Lawrence. 
 
 14 Okimono. Bronze. Running hare. 19th century. 
 
 Lent by Mr. Alfred Cock. 
 
 15 Square Box. Bronze, with rust-coloured patina. Decorated with conventional 
 
 clouds and waves and a Sanscrit character. Inscriptions " Dedicated by the 
 
 Okada family in the isth year of Tempo (1844)," and "Made by Obata 
 
 Dosai, metal caster." 
 
 Lent by Mr. G. Salting. 
 
 16 Water Vessel (Mizu-ir£) for writing purposes. Bronze. Diamond- 
 
 shaped, with bamboo decoration. 
 
 Lent by Mr. J. M. Swan. 
 
 17 Okimono. Bronze. Tiger. Signed Ts\mkxio\ii\x. 17th century (?). 
 
 Lent by Mr. Stuart Samuel. 
 
 18 Flower Vase (Tsuru-kubi). Bronze, with brown patina. 
 
 Lent by Mr. M. Tomkinson. 
 
 19 Incense Burner. Bronze. Decorated with lion and dragons. Seal, " Cast 
 
 by Somin." 
 
 Lent by Mr. F. Yeats Edwards. 
 
 20 Flower Vase. Bronze, with damascened and incised design of cloud dragon. 
 
 Incised signature Shig^toshi. 
 
 Lent by Mr. Wm. Anderson. 
 
 21 Okimono Incense Burner. Duck. i8th century. 
 
 Lent by Mr. Alfred Cock. 
 
 22 Vase. Bronze. With key pattern around neck, and old Chinese arabesques 
 
 on body. 
 
 Lent by Mr. W. Gowland. 
 
 23 Okimono. Bronze. Group of tortoises. 5f<z/, " Cast by Seimin." 19th century. 
 
 Lent by Mr. /. M. Swan, 
 
35 Case VII. 
 
 28a. Okimomo. Bronze. Demon child weeping over an arm which has been cut 
 off from the parent demon by the mediaeval hero, Raiko. 19th century. 
 
 Lent by Mr. Wm. Anderson. 
 
 24 Okimono Incense Burner. Bronze. Sitting crane. 19th century. 
 
 Lent by Mr. F. Yeats Edwards. 
 
 25 OsiMONO. Bronze. Highly conventionalised dragon. Seal, " Cast by Seimin." 
 
 Early 19th century. 
 
 Lent by Mr. R. Mills. 
 
 26 O KIMONO. Bronze. Two monkeys. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 27 Okimono. Bronze. Tiger. Seal, " Cast by Seimin." Early 19th century. 
 
 Lent by Mr. R. Mills. 
 
 28 Okimono. Bronze. Toad. Signed YsiSnchxkz.. 19th century. 
 
 Lent by Mr. R. Mills. 
 
 29 Small Water Vessel (Mizu-ir£). Bronze with cloisonne enamel medallions. 
 
 1 8th century. 
 
 Lent by Mr. Win. C. Alexander. 
 
 80 Oil Lamp. Bronze. In form of a fabulous tortoise with horns, and holding a 
 
 vessel in the mouth. Illegible inscription in Chinese characters beneath. 
 
 Possibly of Chinese workmanship. 
 
 Lent by Mr. G. Salting. 
 
 31 Okimono. Bronze, with rust-coloured patina. Hare. Very conventional design. 
 
 Lent by Mr. R. Mills. 
 
 32 Okimono. Bronze. Jurojin holding roll of manuscript and seated on a 
 
 stag. 17th century. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 33 Okimono. Bronze. Crane, with one wing partly extended. 1 8th century. 
 
 Lent by Mr. Alfred Cock. 
 
 34 Okimono Incense Burner. Bronze. Horse with monkey. 19th century. 
 
 Lent by Mr. Alfred Cock. 
 
 35 Okimono Incense Burner. Bronze. Pheasant on stump of tree. 17th century 
 
 Lent by Mr. Alfred Cock. 
 
 36 Ash Box. Bronze. Basket work with shells and crabs. Signed SUGIYAMA. 
 
 Lent by Sir Henry Howorth. 
 
Case VII. 36 
 
 37 Okimono. Bronze. Tortoise with three rolls on back, probably emblems 
 
 of Fukurokuju. i6th century (?). 
 
 Lent by the Hon. W. B. Massey-Mainwaring. 
 
 38 Okimono. Bronze. Chinese boy in boat. 
 
 Lent by Mr. R. Phen^ Spiers. 
 
 39 Okimono. Bronze. Chinese lion. Semi-conventional treatment. 19th century. 
 
 Lent by Mr. H. S. Trower. 
 
 40 Okimono. Bronze. Tortoise. Seal, " Cast by Seimin." 
 
 Lent by Mr. R. Mills. 
 
 41 Okimono. Bronze. Wickerwork hat, the lining in imitation of stamped 
 
 leather. 19th century. 
 
 Lent by Mr. JVm. C. Alexander. 
 
 42 Okimono. Bronze. Crow. Naturalistic treatment. 19th century. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 43 Miniature Mask. Bronze. Demon face with widely open mouth. 
 
 Lent by Mr. T. W. Cutler. 
 
 44 NETSUKfi. Bronze, heightened with gold. Chinese lion. Signed Umetada 
 
 of Joshu. 
 
 Lent by Mr. Stuart Samuel. 
 
 45 Vase. Bronze. Upper part decorated with imitation of pottery glaze, lower 
 
 portion with conventional waves. Seal, " Cast by Toiin." 
 
 Lent by Mr. G. Salting. 
 
 46 Incense Burner. Bronze. Hare. 
 
 Lent by Mr. Stuart Samuel. 
 
 47 Vase. Bronze, with cylindrical neck. 
 
 Lent by Mr. G. Salting. 
 
 48 Okimono. Bronze. A figure of Daruma. 
 
 Lent by Mr. H. S. Trower. 
 
 49 Vase. Bronze. With cloud dragon. Seal, " Cast by Toiin." 
 
 Lent by Mr. Alfred Parsons. 
 
 50 Okimono Incense Burner. Duck. 17th century. 
 
 Lent by Mr. Stuart Samuel. 
 
il 
 
 Case VIII. 
 
 Bronzes and other Metal Work connected with Buddhist 
 
 Worship. 
 
 1 Candlestick. Bronze. A dragon arising from the sea and ascending around 
 
 a waterspout, which represents the stem of the candlestick. Below are 
 
 conventional waves. i6th century (?). 
 
 Lent by Mr. E. IV. Hennell. 
 
 2 Candlestick. Bronze. Candle supporter wanting, the principal figure 
 
 represents a Chinese sage, in company with a crane and tortoise, standing 
 
 upon a rock in the midst of waves. 
 
 Lent hy Mr. Alfred Cock. 
 
 S Shinto Emblem Case. Iron box, enclosing Shinto emblems, the sun, and a 
 wand supporting strips of paper (go-hei). The doors and dome of the case 
 bear the Tokugawa badge and conventional clouds in enamel, and are 
 fastened by an enamelled lock. The enamel and the silver plate on the 
 base are probably later additions. On the silver plate, signed Umetada. 
 
 Lent by Mr. J. M. Swan. 
 
 4 Okimono. Bronze. Three egrets standing upon an inverted lotus leaf. Not 
 
 later than i6th century. 
 
 Lent by Mr. Alfred Cock. 
 
 5 Okimono. Bronze and gold. Lotus, with small water-wagtail and fresh water 
 
 mussels. 19th century. 
 
 Lent by Mr. f. M. Swan. 
 
 5a Okimono. Yellow bronze. Kwan-on standing on a clam-shell. 
 
 Lent by Mr. Alfred Cock. 
 
 6 Companion to No. i. 
 
 Lent by Mr. E. W. Hennell. 
 
 7 Buddhist Gong {Do-kei). Bronze gilt. With design of phoenixes in low 
 
 relief. This, when in use, is suspended upon a frame, and is struck in the 
 position of the small central boss with a hammer. 
 
 Lent by Mr. Wm. Anderson. 
 
 8 Small Bell ( Wani-guchi). Bronze. Crowned with an image of a tortoise 
 
 in the embrace of a snake. Dated 1593, and inscribed, " Higo no Kami 
 
 Fujiwara Kiyomasa " (Kat6 Kiyomasa, dedicator). The inscriptions are 
 
 clearly defined, and the metal is covered with a fine green patina. The 
 
 base presents three short feet. 
 
 Lent by Mr. W. Harding Smith. 
 
Case VIII. 38 
 
 8a OkimoNO. Bronze. Sitting figure representing S'akyamuni in his mountain retreat. 
 
 Lent by Mr. C. H. Read. 
 
 9 Bronze Figure of Yakushi (the Healing Divinity) in a sitting position, 
 holding a sacred crystal in the left hand. Inscription, " Dedicated to the 
 Yakushi at Itaya by Ikeda Shosuk^ and Aral Toy^mon." Dated 1569. 
 
 Lent by Mr. Alfred Cock. 
 
 10 Buddhist Bell. Bronze. Shape transitional, between the ancient winged 
 
 form and the late cupola. Design (Chinese) of intertwined dragons and 
 lotuses in low relief. 
 
 Lent by Mr. R. Pheni Spiers. 
 
 11 Okimono. Bronze. Representing standing figure of Daruma (Dharma). 
 
 T^ent by Mr. Stuart Samuel. 
 
 12 Cupola Bell. Bronze. In form of a lotus leaf. 
 
 Lent by Mr. J. M. Swan. 
 
 13 Buddhist Divinity Case {Butsu-gan). Lacquer, with elaborate silver 
 
 mounts. Within are eight Buddhist divinities carved in wood. 
 
 Lent by Mr. Marcus B. Huish. 
 
 14 Okimono. Bronze. Representing pilgrim with shaven head, one hand holding 
 
 the fragment of a staff, the other has grasped some object which is now lost. 
 From the attitude of the figure it is probable that it originally bore a case 
 of Buddhist relics on the back. 
 
 Lent by Mr. Alfred Cock. 
 
 15 Cup. Bronze. In the form of two lotus leaves. 
 
 Lent by Mr. J. Gumey. 
 
 16 Buddhist Bowl-Gong. In the form of a lotus flower. Inscription bears date 
 
 of 1805, and states that it belonged to the branch temple of Komyo-zan, in 
 the time of the priest Koyo. 
 
 Lent by Mr. Wm. Anderson. 
 
39 Case VJII. 
 
 17 Candlestick. Bronze. Tortoise and crane. 
 
 Lent by Colonel Goff. 
 
 18 Buddhist Vase. Bronze. With designs in low relief, representing phoenixes, 
 
 angels and lotuses. 
 
 Lent by Mr. H. J. Pfungst. 
 
 19 TorO, Miniature temple lantern. Supported by six carved legs on a hexagonal 
 
 base, decorated with conventional lines. 
 
 Lent by Colonel Goff. 
 
 20 Cylindrical Vessel with handle. Bronze. Design of storm dragon. 
 
 Inscription, " Dedicated by a man born in the year of the Rat." 
 
 Lent by Mr. J. Gurney. 
 
 21 Flower Vase. Bronze. Lotus leaf design, with three-clawed dragon. Seal in 
 
 base, Meiho-an tsukuru (made at the house of the Singing Phoenix). 
 
 Lent by Mr. C. H. Read. 
 
 22 Buddhist Divinity Case {Butsugan). Lacquer, with brass mounts. Within 
 
 are Benzai Ten, the Fifteen D5ji, Bishamon Ten, Daikoku, and Fudo, 
 carved in wood and coloured. 
 
 Lent by Sir Cltarles Robinson. 
 
 23 Winged Bell. Bronze. Ancient Chinese arabesque design. The handle is 
 
 continuous with two lateral wings. 
 
 Lent by Mr. J. M. Swan. 
 
 24 Vase. Bronze. Lotus leaf design, with handles formed by the unopened leaf 
 
 and flower bud of the lotus. 
 
 Lent by Mr. J. M. Swan. 
 
 25 Buddhlst Bell. Cupola form. Decorated with dragons rampant, clouds, and 
 
 formal flowers ; with a circle of conventionalised Sanscrit characters around 
 the base. Handles formed by three-clawed dragons. 
 
 Lent by Mr. Wm. Anderson. 
 
 26 Incense Burner (Koro). Tripod, with dragon on lid. 
 
 Lent by Mr. Edward Dillon. 
 
Case VIII. 40 
 
 27 Buddhist Flower Dish. Perforated gilt copper. Lotus design. Inscriptions, 
 to " The fifteenth day congregation " and " Temple of Hosenji, Sakai." 
 
 Lent by Mr. Edward Dillon and Mr. Alfred Cock. 
 
 On the top of the Case. 
 
 30 Buddhist Image. Bronze. Amitabha seated on conventionalised lotus stand. 
 
 Signed Harutoshi. Dated 1772. 
 
 Lent by Mr. Alfred Cock. 
 
 31 Buddhist Bowl-shaped Gong {Dohachi). With inscription, " Dedicated by 
 
 Sagamiya Jimbei, for the salvation of his ancestors and the prosperity of his 
 house, to the Temple of Yakuwoji, at Mita, Shiba (Yedo), while Jikko 
 the r2th head priest, was present." Dated 1820. 
 
 Lent by Mr. Wm. Anderson. 
 
 32 Buddhist Divinity Case {Butsn-gan). The many-handed Kwan-on 
 
 (Avalokitesvara). Carved in wood. Case lacquered, with gilt copper mounts. 
 
 Lent by Mr. Alfred Parsons. 
 
 33 Bronze Figure of Amitabha, standing with one hand upraised. 
 
 Inscription on stand, " Hakkaku Masayemon [probably name of dedicator] 
 Matsuki-mura, Matsuno-yama, Kubiki-gori, Yechigo (province)." Dated 1840. 
 
 Lent by Sir Henry Howorth. 
 
 34 Bowl of Hammered Iron. Decayed leaf of lotus, with young leaf, flower, 
 
 and seed-vessel with loose seeds. 
 
 Lent by Mr. Stuart Samuel. 
 
 35 Bowl-shaped Gong. Hammered bronze, showing hammer marks. 
 
 Lent by Mr. Wm. Anderson. 
 
 Table Case IX. 
 
 Chiefly 17th Century Lacquep, with a few earlier Pieces. 
 
 Box in Shape of Plum-flower. Carved wood. Decoration, black and 
 red lacquer in low relief. Medallion with dragon, kara-shishi, howo, and 
 flowers, inlaid with mother-of-pearl. Kamakura-bori, or possibly Chinese. 
 Before 1600, and probably much earlier. 
 
 Lent by Mr. R. P/ien/ Spiers. 
 
41 Case IX. 
 
 2 KoGO. Incense-box, margins lined with pewter. Hira-makiye. Gold and poudr^ 
 
 ground. Decoration of Paulownia flowers and leaves (less conventionalised 
 
 than is usual) and bamboo. Possibly a specimen of Higashiyama Jidai of 
 
 the end of the isth century. 
 
 Lent by Mr. Stuart Samuel. 
 
 3 Kog5. Small circular incense-box, margins lined with pewter. Decoration 
 
 rather roughly executed in low relief on gold ground. Flowers of Paulownia 
 
 unconventionally treated. Possibly Higashiyama Jidai of late isth 
 
 century. 
 
 Lent by Mr. Stuart Samuel. 
 
 4 KOGO. Small square box, margins lined with pewter. Decoration, plain gold 
 
 and poudr^, on dark brown ground. Conventional chrysanthemum flowers in 
 gold lacquer and mother-of-pearl inlay. Perhaps before i6oo. 
 
 Lent by Mr. G. Salting. 
 
 5 Ko-BON (Perfume-tray). Carved wood tray, in form of a peach blossom, on three 
 
 legs. Nashiji, decorated with gold lacquer in low relief Five of the signs 
 of the K5-no-zu in gold plate • incrustation, with scenes from the Genji 
 Monogatari. Attributed to TSUCHIDA Soyetsu, middle of 17th century. 
 Box for holding the tray, of purplish brown lacquer (Shunkei-nuri) with 
 diaper decoration on edges. Inscribed — Tokwa-kozu-bon. Literally, " Peach 
 flower, perfume picture, tray." Attributed to Yosei, late 17th century. 
 
 Lent by Mr. A. W. Franks. 
 
 6 INRO. Brownish black lacquer. Decoration in low relief, gold (partly rubbed 
 
 off) on red base and mother-of-pearl. Peony flowers. Risers of fine nashiji. 
 
 Attributed to Aogai Chobei (1605-1649). 
 
 Lent by Mr. E. Gilbertson. 
 
 iNRO. Black ground poudrd Decoration in low relief, gold on black lacquer 
 
 (partly rubbed off) and mother-of-pearl. Chrysanthemums. Risers fine 
 
 nashiji. Very similar to No. 6. 17th century. 
 
 Lent by Mr. G. Salting. 
 
 8 iNRO. Risers lined with pewter. Black lacquer ground, gold partly rubbed off 
 Decoration in low relief and mother-of-pearl. Plum blossom and bamboo. 
 
 Lent by Mr. G. Salting. 
 
Case IX. 42 
 
 9 Inro. Black lacquer ground. Decoration in high relief, lacquer and mother- 
 of-pearl to imitate pottery and brocade. Tea-jars in their brocade cases. 
 Early 17th century. 
 
 Lent by Mr. G. Salting. 
 
 10 Inro. Long and hexagonal. Red and black lacquer ground (suri-hagashi). 
 Decoration, gold lacquer and mother-of-pearl in relief. Fern shoots, and 
 Equisetum. 17th century. 
 
 Lent by Mr. M. Tomkinson. 
 
 11 Inro. Ground to imitate canvas. Decoration in low relief Tortoiseshell and 
 suri-hagashi lacquer. Kara-shishi and peonies. Cord guides of silver, 
 and risers lacquered to imitate shi-bu-ichi. 17th century. 
 
 Lent by Mr. W. Harding Smith. 
 
 12 Inro. Wood carved in relief and lacquered to imitate tortoiseshell. Chinese 
 subject. 17th century. 
 
 Lent by Mr. E. Gilbertson. 
 
 18 Inro. Brown lacquer poudre. Decoration, lacquer in relief and bone. Eagle 
 on tree trunk. 
 
 Lent by Mr. W. Harding Smith. 
 
 14 Inro. Black lacquer ground. Decoration in relief of gold, black and red lacquer. 
 Dragon ascending from the waves. 17th century. 
 
 Lent by Mr. W. Harding Smith. 
 
 15 Inro. Black lacquer ground. Decoration, gold lacquer of various shades. 
 Faces of shell (?). Hotei and children. 17th century. 
 
 Lent by Mr. W, Harding Smith. 
 
 16 Inro. Gold, poudre ground. Decoration, lacquer in low relief Gold and 
 
 silver incrustation of cherry blossom. Saddled horse in high relief of dark 
 
 wood. 17th century. 
 
 Lent by Mr. G. Salting. 
 
43 Case IX. 
 
 17 INRO. Ground, gyobu in irregular flakes. Decoration, gold of various shades. 
 
 Chinese and Japanese fans. 17th century. 
 
 Lent by Mr. G. Salting. 
 
 18 Inro. Black lacquer ground. Decoration, gold lacquer and mother-of-pearl 
 
 mosaic. Paulownia and key pattern (manji-tsunagi). 17th century. 
 
 Lent by Mr. W. Harding Smith. 
 
 19 KOGO. Small incense box. Carved wood in low relief, lacquered. Mother-of- 
 
 pearl mosaic ground. Hotel carrying bag, his body and face of pottery 
 inlay. Inside, fine nashiji. 17th century. 
 
 Lent by Mr. M. Tomkinson. 
 
 20 Inro. Pale gold poudr^ ground. Decoration, lacquer in high relief Mountain 
 
 torrent and shells. Incrustation of mother-of-pearl, coral (.'), &c. Of 
 somewhat archaic style, and much worn down. Early 17th century. 
 
 Lent by Mr. E. Gilbertson. 
 
 21 Inro. Ground, gold poudrd, of various tints. Decoration, gold lacquer in low 
 
 relief. Plum blossom. The red flowers are probably of coral. Early 
 
 17th century. 
 
 Lent by Mr. E. Gilbertson. 
 
 22 Inro. Black ground, with flowing pattern in togidashi. Medallion of old Chinese 
 conventional pattern. Imitation, in lacquer, of various dark metals. Cord 
 guide in silver repouss^. Lacquered wood netsuke attached. 17th century. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 28 SUZURI-BAKO. Writing box. Polished red lacquer ground. Decoration, gold and 
 black lacquer (suri-hagashi). Dragon, and conventional clouds. Inside lid, an 
 inscription in gold lacquer, but apparently of later date than the box — 
 " Kwanyei san, hi-no-ye tora, go-gatsu, Shimizu Ichitayu Masatomo kore-wo 
 tsukuru." Made by Shimizu Ichitayu Masatomo, in the year 1626. 
 
 Lent by Mr. R. Pheni Spiers. 
 
 24 Inro. Gold ground. Figures in relief in tortoiseshell. Scene from Chinese 
 
 history. 17th century. 
 
 Lent by Mr. W. Harding Smith. 
 
Case IX. 44 
 
 25 Inro. Tsuikoku lacquer. Jo and Uba on the strand of Takasago, With 
 
 netsuke, a Karashishi of carved wood lacquered red (Kamakura-nuri). 
 
 Lent by Mr. W. Harding Smith. 
 
 26 Inro. Tsuishu lacquer. Dragon in high relief and clouds on diaper ground. 
 
 Chinese style of carving. Risers of fine nashiji. 
 
 Lent by Mr. E. Gilbertson. 
 
 27 Inro. Base of mother-of-pearl mosaic (raden). Decoration in gold lacquer. 
 
 Chinese carriage drawn by camels. 
 
 Lent by Mr. E. Gilbertson. 
 
 28 Inro. Aogai, gyobu in flakes and gold lacquer. Howo birds flying amid clouds 
 
 over the waves. Attributed to Aogai Chobei (1605-1649). 
 
 Lent by Mr. E. Gilbertson. 
 
 20 KO-BAKO. Aogai on transparent lacquer ground, resembling lortoiseshell. 
 Medallion at top, the Chinese sage Hichobo riding on a crane over 
 conventional waves (seigai-nami). Perhaps before 1600. 
 
 Lent by Mr. W. Harding Smith. 
 
 80 Ko-BAKO. Ground, fine mosaic of mother-of-pearl, wave and basket-work 
 
 patterns. Incrustations of ivory, mother-of-pearl, tortoiseshell and coral. 
 
 Chinese boys and lotus flowers. Inside, metal incrustations on nashiji. 
 
 Late 17th century. 
 
 Lent by Mr. A. W. Franks. 
 
 31 Inro. Small circular form. Black lacquer ground with gyobu in small flakes. 
 Medallion, mother-of-pearl (aogai) and gyobu, with incrustation of stained 
 bone. Mandarin ducks. Guides for cords in form of silver eyes. 
 
 Lent by Mr. H. S. Trower. 
 
 82 Ju-KOGO. Small hexagonal nest of boxes for incense. Mother-of-pearl in 
 
 diapers of fine mosaic and carved in relief Two Chinese figures. 17th century. 
 
 Lent by Mr. E. Gilbertson. 
 
 83 Inro. Small circular form. Black lacquer ground, with gyobu in small flakes. 
 
 Medallion, aogai and gold lacquer. Gold and ivory incrustation. Plum 
 blossom. Guides for cords in form of silver eyes. Closely resembling No, 31, 
 but apparently older. 17th century. 
 
 Lent by Mr. E. Gilbertson. 
 
45 Case IX. 
 
 84 InrQ. Black lacquer ground inlaid with mother-of-pearl. Subject from 
 
 Nijushi-ko (Tales of Filial Piety). Resembling Chinese work, but the risers 
 are of fine nashiji. 17th century. 
 
 Lent by Mr. W. Harding Smith. 
 
 85 Bunko. Manuscript Box. Black lacquer. Incrustation of stag in copper. To 
 
 the right, above, there has formerly been a silver moon (?). On inside, 
 green and white lacquer roughly painted on the black ground. Branch 
 of lespedeza. Signed YiO'ii-Kyi.X Koyetsu (1558-1637). 
 
 Lent by Mr. Stuart Samuel. 
 
 36 Inro. Ground, dark brown lacquer, resembling tortoise-shell. Decoration, 
 
 incrustations of gold lacquer, mother-of-pearl and lead. Two hoes tied 
 
 together, an owl seated on one of them. Risers of fine nashiji. Signed 
 
 TSUCHIDA Soyetsu, aged 81. About 1680. 
 
 Lent by Mr. M. Tomkinson. 
 
 87 Inro. Ground, dark brown lacquer, resembling tortoiseshell. Decoration, 
 gold lacquer, mother-of-pearl and lead. Mast and sail of boat appearing 
 over a bank or dike. Signed TSUCHIDA Soyetsu, aged "jj. 
 
 Lent by Mr. G. Salting. 
 
 38 Inro. Black lacquer ground. Decoration, gold lacquer and mother-of-pearl 
 
 incrustation. Post of bridge, and mosquitoes dancing over a stream. 
 
 Signed TSUCHIDA Soyetsu, aged "jj. 
 
 Lent by Mr. Stuart Samuel. 
 
 39 Inro. Dark ground, imitating tortoiseshell. Decoration, gold and silver 
 
 lacquer in low relief. Fukurokuju. At the back, signature and seal of 
 
 Sesshu (the great painter) in gold and red lacquer. Signed, at base, 
 
 TSUCHIDA Soyetsu, aged 71. 
 
 Lent by Mr. G. Salting. 
 
 40 KoGO. Margins lined with pewter. Coarse nashiji, decorated with cranes of 
 
 gold lacquer. 17th century. 
 
 Lent by Mr. G. Salting. 
 
 41 SUZURI-BAKO. Writing Box. Black lacquer ground, decorated with gold lacquer 
 
 and mother-of-pearl inlay. Clothes-rack (ik5) with brocaded court robes and 
 charm bag (mamori-bukuro). Attributed to TSUCHIDA Soyetsu. 
 
 Lent by Mr. Stuart Samuel. 
 
Case IX. 46 
 
 42 SUZURI-BAKO. Writing box, in the shape of a battledore, the margins lined with 
 
 pewter (okiguchi). Nashiji, with decoration of gold and black lacquer. Court 
 scene, a Kug^ and ladies. Badge of two cranes at top (used by Nambu 
 family). Water vessel of silver and shakudd in shape of shuttlecock. 
 Attributed by owner to TSUCHIDA SSyetsu. 
 
 Lent by Mr. Stuart Samuel. 
 
 43 Inro. Black lacquer ground. Decoration, red and gold lacquer in relief, 
 
 lead, and mother-of-pearl incrustations. Cranes, and bridge post. Risers of 
 
 fine nashiji. 17th century. In style of Soyetsu. 
 
 Lent by Mr. G. Salting. 
 
 44 Inro. Black lacquer ground. Decoration, carved lacquer of various colours in 
 
 high relief. Basket of flowers. Signed Yosei. Attributed by owner to 
 Yosei, of Nagasaki, who introduced the style from China about 1660. 
 
 Lent by Mr. E. Gilbertson. 
 
 45 Inro. Black lacquer ground. Incrustation on either side of mother-of-pearl, 
 
 and wood lacquered in chestnut colour in high relief A horse rolling on the 
 ground. Signed Yo%€\. 17th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 4fi Inro. Black lacquer ground. Decoration, mother-of-pearl, and lacquer in 
 
 relief Fish, with eye of glass, lying on seaweed. Risers of chinkin-bori. 
 
 Probably by Yosei. 17th century. 
 
 Ixnt by Mr. G. Salting. 
 
 47 Inro-SHAPED Box, with silver hinge and clasp. Black lacquer ground. 
 
 Decoration, fish in mother-of-pearl, with eye of glass, lying on seaweed. 
 (Closely resembling last.) Probably by Yosei. 17th century. 
 
 Lent by Mr. E. L. Montefiore. 
 
 48 NyOI (a kind of staff carried by Buddist priests). Carved wood, lacquered black 
 
 and red. H6w5, and Paulownia flowers in high relief 
 
 Lent by Sir Henry Howorth. 
 
 49 SUZURI-BAKO. Writing box, with okiguchi in pewter. Red lacquer ground. 
 
 Decoration, gold lacquer in low relief, with inlay of mother-of-pearl and lead. 
 Iris flowers and bridge. 5?^^«/Seisei Korin (1660-1716). 5(?a/H6shuku. 
 
 Lent by Mr. M. Tomkinson. 
 
47 Case IX. 
 
 50 Box. Natural wood, rough surface. Margins with pewto- lining (okiguchi). 
 
 Decoration, gold lacquer in low relief, with mother-of-pearl and lead inlay. 
 Bean pod and leaves. Signed (under lid) Hokyo Korin. 
 
 Lent by Mr. M. Tomkinson. 
 
 51 SUZURI-BAKO. Black lacquer, painted with gold lacquer and inlaid with mother- 
 
 of-pearl and lead. Stag and doe, with kikyo (Platycodon grandiflorum) 
 and lespedeza flowers. Style of Korin, about 1700. 
 
 Lent by Mr. E. L. Montefiote. 
 
 52 KOBAKO. Small cylindrical box. Natural wood. Decoration, gold lacquer in 
 
 low relief, mother-of-pearl and lead inlay. Illegible signature (Koyen .'). 
 
 School of K5rin. 
 
 Lent by Mr. Stuart Samuel. 
 
 58 Ko-BAKO. Small cylindrical box. Lead margins (okiguchi). Dead gold 
 ground, dusted with gold powder. Decoration, gold lacquer in low relief, silver 
 foil and mother-of-pearl. Dragonflies and butterflies. School of Korin. 
 
 Lent by Mr. Stuart Samuel. 
 
 54 KOCO. Small cylindrical incense box. Flowered ground, with dragonflies in 
 
 silver and gold lacquer and mother-of-pearL School of Korin. 
 
 Lent by Mr. Stuart Samuel. 
 
 55 InrO. Dark red ground. Decoration, gold and shibuichi lacquer, with lead 
 
 and mother-of-pearl inlay. Conventionally-drawn cranes. School of Korin. 
 
 Early i8th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 56 KWASHI-BAKO. Small round box. Brownish-black lacquer ground. Decoration 
 
 in low relief, gold and silver lacquer (blackened) and mother-of-pearl. 
 
 Camellia and plum blossom. Signed KajikaWA, with two seals, but 
 
 decorated in the style of Korin. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 57 NatsUM£. Box for powdered tea. Ground of dark wood. Decoration 
 brown lacquer, dusted with gold for clouds and rocks. Moon and stags of 
 lead. School of Kdrin. i8th century. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 58 KoGO. Small circular case. Coarse-grained natural wood, painted with white 
 
 and green lacquer. Reeds and flying geese. Inside, plain gold lacquer. 
 
 Signed, on base in red lacquer, Seisei (one of the signatures of Korin). 
 
 About 1700. 
 
 Lent by Mr. Stuart Samuel. 
 
Case IX. 48 
 
 59 Inro. Ground of soft coarse-grained wood (perhaps Paulownia), painted with 
 
 white and green lacquer. Chrysanthemum and reeds. Seal (lacquer-painted 
 on base) Taiseiken, used by the painter S5tatsu. 
 
 Lent by Mr. Stuart Samuel. 
 
 60 Small square Boxes. Dark wood. Decoration, gold lacquer of two shades 
 & in relief. Incrustation of tsuishu, copper and silver. Spotted deer under 
 
 61 autumn maple (momiji ni shika). 17th century. 
 
 Lent by Mr. Edward Dillon. 
 
 Table Case X. 
 
 Lacquep of the end of the 17th and beginning- of 18th Century, 
 including the School of Ritsuo. 
 
 1 SUZURI-BAKO. Rough natural wood, drafted edges of coarse nashiji, with 
 
 circular medallion. Head of Daruma in carved lacquer, on gold ground. 
 At side, two obscure seals, probably to be read " Tenrokudo," and " Humbly 
 made by Kenkoku." Somewhat in the style of Ritsuo, but the lacquer on 
 edge and inside, resembles early 17th century work. 
 
 Lent by Mr. M. Tomkinson. 
 
 2 Box. Natural wood. Incrusted with plaques of pottery and other materials, to 
 
 imitate roof-tiles, terminal and plain. Beaded edge, black lacquer gilt. 
 6'^a/ Kwan, in pottery. By Ritsuo. (1663- 1747.) 
 
 Lent by Mr. M. Tomkinson. 
 
 8 Small Tray. Rough natural wood. Decoration, incrustation in relief of lead, 
 
 shell, wood, &c. River-boat, moored among reeds, goose flying across moon. 
 
 Seal Kwan, in pottery. By Ritsuo. 
 
 Lent by Mr. M. Tomkinson. 
 
 4 Small Tray. Rough natural wood. Decoration, incrustation of pottery, 
 mother-of-pearl, with lacquer in relief Chrysanthemum under a temporary 
 shelter. Seal, on under side, Kwan, in pottery. By Ritsuo. 
 
 Lent by Mr. M. Tomkitison. 
 
49 (^^se X. 
 
 5 Inro. [Black lacquer. Decoration, gold and bronze lacquer in relief, and 
 
 pottery incrustation. Chrysanthemum, behind a rough hedge. Seal Kwan, 
 
 in gold lacquer. By Ritsuo. 
 
 Lent by Mr. M. Tomkinson. 
 
 6 Inro. In form of bridge-post. Brown and black lacquer, imitating wood and 
 
 metal. Figures in relief of various coloured lacquer. Benkei and Yoshitsune 
 on Gojo bridge. Spear head and scabbard of pottery. Netsuke attached of 
 similar ware ; mouse eating a slice of fish. Seal Kwan. By Ritsud. 
 
 Lent by Mr. G. Salting. 
 
 7 Tabako-ir£. Black lacquer. Incrustation of pottery and red lacquer in relief 
 
 Daruma. Style of Ritsuo. 
 
 Lent by Mr. M. Tomkinson. 
 
 8 Tabako-ir£. Black lacquer. Lid of carved wood. Incrustation in high 
 
 relief. Mushroom and fly. Style of Ritsuo. 
 
 Lent by Mr. Win. C. Alexander. 
 
 Box IN FORM OF ROOSTING DuCK. Wood carved and lacquer-painted. 
 
 Seal Kwan, on base. By Ritsuo. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 10 InbO. Rough decayed wood. Decoration, elephant in low relief of lacquer 
 
 mother-of-pearl and pottery. Inscription in seal character, referring to the 
 elephant bringing happiness. School of Ritsuo. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 11 Black Square Box. Pottery, or other white composition, covered with black 
 
 lacquer. Five Chinese characters of archaic form. Inside, green glaze. 
 On base, long Chinese inscription. Dated 1733. ^^^^ Kwan. Probably 
 by Ritsuo. (Compare Sword — Case V., No. 55). 
 
 Lent by Mr. M. Tomkinson. 
 
 12 Inro. Brown carved lacquer, to imitate an ancient piece of Chinese ink, with 
 
 a Chinese date and two female figures. Sigfied on base, Ritsuo, with 
 
 unusual seal. By Ritsuo. 
 
 Lent by Mr. Stuart Samuel 
 
 18 Inro. Lacquered wood. Incrustation of mother-of-pearl and lacquer in relief. 
 
 Sides and risers of chinkin-bori. Fish and prawn lying upon water-weed. 
 
 .S^a/ of Hanzan. 1 8th century. 
 
 Lent by Mr. H. S. Trower. 
 
Case X, 50 
 
 14 INRO. Polished dark red lacquer (Shunkei-nuri). Decoration, incrustation of 
 
 pottery with lacquer in high relief. Poppies. Signed U.dinza.n. 1 8th century. 
 
 Lent by Mr. G. Salting. 
 
 15 iNRO. Black lacquer. Decoration, pottery and lacquer in relief Dragonflie.s. 
 
 Signed on base, in large seal characters, MOCHIZUKI Hanzan. i8th century. 
 
 Lent by Mr. G. Salting. 
 
 16 iNRO. Black lacquer. Incrustation of pottery and mother-of-pearl. Shells and 
 
 water-weeds. Chinkin-bori risers. Attributed to Hanzan. 
 
 Lent by Mr. E. Gilbertson. 
 
 17 Inro. Dark brown lacquer. Decoration, pottery and lacquer in relief Imitating 
 
 porcelain plate of Ming period and old Chinese copper coin. Signed KiMURA 
 Jikkyoku. School of Ritsu5. 18th century. 
 
 Lettt by Mr. E. L. Montefiore. 
 
 18 Inro. Dark wood. Decoration, tortoiseshell and lacquer in high relief. 
 
 Bonito (katsuo) fish and seaweed. Signed Kyukoku. School of Ritsuo. 
 1 8th century. 
 
 Lent by Mr. G. Salting. 
 
 19 Cylindrical Box. Nashiji lacquer. Lid inlaid with pottery figure of Daruma. 
 
 Inside lid, pottery seal, Haritsu (a form of the name Ritsuo). 
 
 Lent by Mr, Wnt. C. Alexander. 
 
 20 Inro. In form of Pecten shell. Carved wood, lacquered. Smaller shells in 
 
 relief, in pottery and lacquer. Signed Sadaji (on riser). School of Ritsuo. 
 
 Lent by Mr. E. Gilbertson. 
 
 For other larger examples of Ritsuo, see Cases XIII., 54, and XV., 33; also a tray and a 
 
 long plaque on the wall. 
 
 21 KoGO. Box for perfume. Gold and coloured lacquer with mother-of-pearl ; ' 
 
 key-pattern (manji-tsunagi). Chrysanthemums and Paulownia. Late 17th 
 
 century. 
 
 Lent by Mr, G. Salting. 
 
 1 
 
51 
 
 Case X. 
 
 22 KOGO. In shape of lady's robe. Gold, silver and brown lacquer to imitate 
 
 brocade. Late 17th century. 
 
 Lent by Mr. G, Salting. 
 
 28 K5go. In the form of a cap worn by the dancers of the " Gigaku " school. 
 
 Kiri badge on top. Decoration chiefly very fine gold mosaic (gyobu) on 
 
 black ground. Late 17th century. 
 
 Lent by Mr. A. IV. Franks. 
 
 24 KOGO. Imitating a basket on three legs. Black lacquer. Gold and red 
 
 decoration. Nandina, fern and other plants. Late 17th century. 
 
 Lent by Mr. G. Salting. 
 
 25 Tri-lobed Box. Black lacquer ground, irregularly poudrd with gold (kinfun-ji). 
 
 Decoration, chrysanthemum in raised gold lacquer, gold foil and mother-of- 
 pearl. Late 17th century. 
 
 Lent by Mr. E. L. Montefiore. 
 
 26 Oblong Tray. Taka-makiye. Inlay of gyobu, silver, mother-of-pearl and 
 
 coral. Border diapers with kiku flower. Landscape of the Chinese school. 
 
 17th century. 
 
 Lent by Mr. J. Gurney. 
 
 27 Large Suzuri-BAKO. Black ground with gyobu inlay in flakes of two shades. 
 
 Decoration, taka-makiye with gyobu mosaic of gold and silver. Saigyo, 
 
 the priest, gazing at the moon through the plum blossom. Mizu-ire of 
 
 shakudo in form of old piece of Chinese ink. 17th century. Attributed by 
 
 owner to Koyetsu. 
 
 Lent by Mr. Stuart Samuel. 
 
 28 KOGO. Containing two small boxes. Decoration, incrustation of ivory and 
 
 coral, and gold lacquer in relief on gold ground. Sides very fine poudr^ 
 gold. Small Composite plants and Equisetum. Late 17th century. 
 
 Lent by Mr. G. Salting. 
 
 29 KOGO. Of cylindrical form. Decoration, gold lacquer in low relief Trellis with 
 
 wistaria. Inside very fine nashiji. Early i8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
 30 Four-LOBED Box on Stand. Inside, two boxes for sweetmeats, &c. Deco- 
 
 ration, on fine poudrd ground, of gold lacquer and gyobu. Eight landscapes 
 of Lake Biwa (Omi Hakkei). Probably late 17th century. 
 
 Lent by Mr, S. S. Joseph. 
 
Case X. 52 
 
 31 KOGO, with pewter margin (okiguchi). Togidashi, gold of two shades. Decoration, 
 
 conventional birds and insects drawn in outline to resemble incised work. 
 
 17th century. 
 
 Lent by Mr. G, Salting. 
 
 32 Inro. Taka-makiye. Gold of various tints with gyobu. Mountain landscapes 
 
 and waterfall. 
 
 Lent by Colonel Goff. 
 
 33 KOGO. Lid in form of figure of Daruma. Wood carved in low relief and 
 
 lacquered in gold and red. Style of Kamakura-nuri. Probably 17th century. 
 
 Lent by Mr. F. Yeats Edwards. 
 
 34 KOGO. In form of Flower-basket (hana-kago). Thin carved wood. Decoration 
 
 in various coloured lacquers on gold ground. Quail and flowers in style of 
 
 Tosa school of painting. 1 7th century. 
 
 Lent by Mr. IV. H. Cope. 
 
 35 KOGO. Thin wood, shaped to follow outline of figure. Lid carved in low relief, 
 
 and lacquered in various colours. Man and boy in old Chinese costume 
 examining bronze figure of Hotel. 17th century. 
 
 Lent by Mr. A. W. Franks. 
 
 36 Inro. Togidashi ground. Ferry-boat with various figures in coloured lacquer 
 
 in low relief. Style of the ist or 2nd Shunsho. Late 17th century. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 37 Inro. Gold and silver lacquer in low relief on plain gold ground. Game of 
 
 Chinese boys (Karako no asobl). Signed Tsugushige, of the 3rd generation, 
 
 after SUNO Fukwan. About 1700. 
 
 Lent by Mr. Alfred de Pass. 
 
 38 Inro. Togidashi. Yodo Castle and river. Late 17th century. Style of ist or 
 
 2nd Shunsho. 
 
 Lent by Colonel Goff. 
 
 39 Inro. Black lacquer, inlaid with mother-of-pearl. Seals and signatures 
 
 of famous painters of different schools. Attributed by owner to the 
 
 1st Shunsho. Late 17th century. 
 
 Lent by Mr. G. Salting. 
 
 40 Inro. Black lacquer. Decoration, gold and coloured lacquer. "No "dancers. 
 
 (Scene from the play " Takasago.") Attributed to the ist Shunsh5. 17th 
 
 century. 
 
 Lent by Mr. Stuart Samuel. 
 
53 Case X. 
 
 41 BUNDAI. Stand for books and rolls. Taka-makiye on coarse nashiji. Silver 
 
 mountings. On left, a palace, with figures partly visible behind a screen (misu), 
 
 resting on piles over the sea. Eddies of water expressed by the single, 
 
 double and treble tomoye. In centre, a rocky island with a small Shinto 
 
 shrine, Gingko (icho) and maple trees. On right, salt works on the shore 
 
 with evaporating huts. Silver moon behind clouds. Probably refers to 
 
 some story of a prince in exile (perhaps from the Genji Monogatari). 
 
 Repaired in places. 17th century. 
 
 Lent by Mr. Win. C. Alexander. 
 
 42 Ko-BAKO. In circular form. Containing nine small kogo for incense, each 
 
 in form of a fruit. Gold lacquer of various tints. On lid, branch of 
 
 chrysanthemum, on diapered ground. Attributed by owner to Soyetsu. 
 
 Late 17th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 43 KWASHI-KI. Sweetmeat box. Brown spotted lacquer. Decoration, Paulownia 
 
 flowers and leaves. i8th century. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 44 Kogo. Togidashi. Decoration, gold and coloured lacquers. Chinese children 
 
 (Karako) playing with dog. Style of ist or 2nd Shunsho. Early i8th 
 
 century. 
 
 Lent by Mr. S. S. Joseph. 
 
 45 Small Gourd-shaped Bottle. Imitating bottle-gourd (hyotan) for sak<§. 
 
 Dark brown polished lacquer, decorated with gold and coloured lacquer in 
 relief Horses crossing river. At base the character "Ju." Late 17th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 46 INRO. Togidashi. Eight landscapes of Lake Biwa (Omi Hakkei). Late 
 
 17th century. 
 
 Lent by Mr. Willoughby J. G. Loudon. 
 
 Table Case XI. 
 
 Lacquep, chiefly by the Koma School of the 18th Centupy. 
 
 1 iNRO. Red lacquer ground. Decoration, taka-makiye and mother-of-pearl. 
 Clouds, cherry blossom and moon. Signed KOMA Kiuhaku. Early 
 1 8th century. 
 
 Lent by Mr. E. Gilbertson. 
 
Case XI. 54 
 
 2 Inro, Red lacquer ground. Decoration, gold, silver and mother-of-pearl 
 
 The Mikado's carriage among autumn flowers. Probably by ist or 2nd 
 KOMA Kiuhaku. End 17th or early i8th century. 
 
 Lent by Mr. G. Salting. 
 
 3 Inko. Dark red lacquer ground. Decoration, gold and black lacquer in low 
 
 relief. Flying crane. Ascribed to KOMA Kiuhaku. Early 18th century. 
 
 Le7it by Mr. G. Salting. 
 
 4 Inro. Red lacquer ground. Decoration, gold and black lacquer in relief. 
 
 Crane and flock of sparrows. Style of KOMA Kiuhaku. Early 1 8th century. 
 
 Lent by Colonel Goff. 
 
 5 Inro. Ground, red and black lacquer in streaks (imitating suri-hagashi). 
 
 Decoration, gold lacquer, gold foil and mother-of-pearl. Flowers of orchid. 
 
 Signed KoMA Kiuhaku. 1 8th century. 
 
 Lent by Mr. E. Gilbertson. 
 
 6 Inro. Polished black lacquer ground. Decoration, gold, silver and red 
 
 lacquer in low relief. Ornaments for lady's hair. Signed KOMA Kiuhaku. 
 
 1 8th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 7 Inro. Gold ground. Decoration, carved Tsuishu lacquer. Bashiko curing 
 
 the dragon by acupuncture. Signed KOMA Kiuhaku in his 73rd year. 
 1 8th century. 
 
 Lent by Mr. E. Gilbertson. 
 
 8 Inro. Togidashi. Black ground, poudrd in places. Decoration, red shading 
 
 into gold, varying in different lights. Autumn maple, with falling leaves. 
 
 Signed KOMA Kiuhaku. i8th century. 
 
 Letit by Mr. E. Gilbertson. 
 
 9 Inro. Brownish black ground, partly poudre. Decoration, gold of various 
 
 shades, and red. Stag, and autumn maple (the leaves as in No. 8). With 
 
 inscription by Kiuhaku Yasunori, attributing the work to KOMA Kiuhaku 
 
 Yasuaki. i8th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 10 _^Inro. Black lacquer. Flock of small white birds of mother-of-pearl, flying over 
 
 water, which is indicated by fine lines of black lacquer. 5/^«^^KOMA Yasuaki. 
 
 18th century. 
 
 Lent by Mr. R. Phene Spiers. 
 
55 Case XL 
 
 11 INRO. Clouded red lacquer. Decoration, partly tojridashi, partly in low relief, 
 
 gold and dark red. Rock, bamboo, and plum blossom. Signed KOMA 
 Yasutada. Early 19th century. 
 
 Lent by Mr. E. Gilberison. 
 
 12 Inro. Red lacquer ground. Decoration, gold foil, gold, silver, and purple 
 
 lacquer in low relief Cherry blossom and iris. Signed KoMA Yasutada. 
 Early 19th century. 
 
 Lent by Mr. H. S. Trower. 
 
 13 Inro. Dark brown base. Decoration, togidashi in various colours. The 
 
 Dream of Rosei, who holds a fan of mother-of-pearl before his face. The 
 
 dream is indicated above, in polished dark metallic tint. Signed KOMA 
 
 Yasutada. Early 19th century. 
 
 Lent by Mr. E. Gilbertson. 
 
 14 Inro. Black ground, poudr6, passing into plain gold. Decoration, in gold 
 
 lacquer in low relief. Symbols of longevity. Signed KOMA Yasutada. 
 
 Early 19th century. 
 
 Lent by Mr. R. Phend Spiers. 
 
 15 Inro. Black ground. Decoration, in gold foil and lacquer of various shades. 
 
 Chrysanthemum flowers. Signed KOMA Yasutada, after design by Norinobu. 
 
 Early 19th century. 
 
 Lent by Mr. H. S. Trower. 
 
 16 Inro. Lacquer to imitate silver. Decoration, togidashi, imitating various 
 
 metals ; also metal in relief. Butterflies and cruciferous plant. Signed 
 
 KOMA Kioriu. End of i8th century. 
 
 Lent by Mr. M. Toinkinson. 
 
 17 Inro. Black ground, uniformly poudrd with pale gold. Decoration, incrustation 
 
 of mother-of-pearl, with red and gold lacquer in relief Sea fish lying on 
 sprigs of bamboo grass. Signed Kioriu (Koma). End of i8th century. 
 
 Lent by Mr. H. S. Trower. 
 
 18 Inro. Black lacquer. Decoration, togidashi, with gold and silver lacquer in low 
 
 relief Cranes flying over the sea. Signed KOMA Sadashige. Early 19th 
 
 century. 
 
 Lent by Mr. H. S. Trower. 
 
 19 Inro. Black lacquer, finely poudr^. Decoration, togidashi with gold and red 
 
 lacquer in low relief. The strand of Takasago. Signed, inside upper lid, 
 
 KOMA Kwansai. Early 19th century. 
 
 Lent by Mr. R. PJieni Spiers. 
 
Case XI. 56 
 
 20 INRO. Dark brown lacquer. Horses in low relief. Signed Kwansai (KOMA). 
 
 Early 19th century. 
 
 Lent by Mr. E. L. Montefiore. 
 
 20a Netsuk£. In form of a very small box. Polished black lacquer. Decoration, 
 
 autumn flowers of black polished lacquer in relief. Moon in togidashi. 
 
 Signed Kwansai. By KoMA Kwansai. 
 
 Lent by Mr. A. H. Church. 
 
 21 Inro. Inner case of silver. Outer case, lacquer ground to imitate Shibuichi. 
 
 Decoration, lacquer in relief, imitating various metals, and black lacquer. 
 
 Yoshiiye passing by the Nakoso barrier. Signed Bunsai. By KOMA Bunsai. 
 
 Early 19th century. 
 
 Lent by Mr. M. Tomkinson. 
 
 22 Inro. Black lacquer in the form of a piece of Chinese ink. Edging of gold 
 
 lacquer. Decoration in low relief Three envoys in strange costume, with a 
 
 horse bearing presents. Inscribed " To-ban-koku," which may mean Formosa. 
 
 Signed, inside upper lid, KOMA Bunsai. 
 
 Lent by Mr. E. Gilbertson. 
 
 23 SUZURI-BAKO. Writing box. Black lacquer. Decoration, in taka-makiye. Land- 
 
 scape with agricultural scenes. The miniature waterwheel inserted behind a 
 plate of rock crystal, is worked by quicksilver, which runs off by the mill-tail. 
 17th century. 
 
 Lent by Mr. M. Tomkinson. 
 
 24 KWASHI-BAKO (Sweetmeat boxj. Black lacquer ground. Decoration in 
 
 taka-makiye. Mountain landscape, with rustic cottages, in the style of the 
 
 Kano school. Inside, red gold nashiji. Attributed to the 1st Kajikawa. 
 
 17th century. 
 
 Lent by Mr. A. W. Franks. 
 
 25 SUZURI-BAKO. Writing box. Dead gold ground. Decoration, gold and silver 
 
 lacquer, in low and high relief, with nashiji, gold and silver foil, and mother- 
 of-pearl. Inside, gyobu in close flakes. Dwarf torii, with chrysanthemum. 
 
 School of Korin. Early 1 8th century. 
 
 Lent by Mr. G. Salting. 
 
 26 JO-KOGO. Nest of incense boxes. Ground gyobu in large flakes. Decoration, 
 & lacquer in low relief, with incrustation of various metals, mother-of-pearl 
 
 28 and coral. Rocks and flowers. Ascribed to the ist KOMA Kiuhaku 
 
 (died 17 IS). 
 
 Lent by Mr. A. W. Franks. 
 
57 Case Xf. 
 
 27 Ko-DANSU. Small cabinet, with set of drawers. Silver mounts. Fine 
 
 poudr^ ground. Decoration, gold lacquer in low relief. Incrustation of 
 
 flowers in various metals and coral. Plum and wistaria. Style of ist or 
 
 and KOMA. About 1700. 
 
 Lent by Mr. G. Salting. 
 
 29 SUZURI-BAKO, with margins of pewter (okiguchi). Nashiji. Decoration, in 
 
 taka-makiye and mother-of-pearl. A saddled horse among flowers, and 
 
 two characters in gold foil, the whole forming a short poem in rebus form 
 
 (uta-ye). About 1700. 
 
 Lent by Mr. C. H. Read. 
 
 30 KOGO. Ground gyobu, in large flakes. Decoration, various coloured lacquer in 
 
 low relief, with incrustation of metals and mother-of-pearl. Chrysanthemums 
 and other flowers. Style of ist or 2nd KOMA. About 1700. 
 
 Lent by Mr. G. Salting. 
 
 31 KOGO. Containing two smaller boxes. Mokume ground, with medallion, inlaid 
 
 with mother-of-pearl (raden). Decoration, in gold lacquer, coral and ivory. 
 Plum blossom and sea. Early i8th century. 
 
 Lent by the Hon. W. F. B. Massey-Mainwaring. 
 
 32 JO-BAKO. Box in tiers. Shaped wood. Gold lacquer in low relief, with gyobu 
 
 in flakes. Insects and chrysanthemum. Coral incrustation under the lid, 
 which is shaped like a gourd, on gold ground of varying shades. i8th century. 
 
 Lent by Mr. W. Gowland. 
 
 33 Inro. Gold poudre ground. Decoration, gold lacquer in low relief Incrustation 
 
 of peony flowers in various metals. Early 1 8th century. 
 
 Lent by Colonel Goff. 
 
 34 iNRO. Pale gold ground. Decoration, gold lacquer in high and low relief. 
 
 Incrustation of shells of silver and gold in high relief, and seaweed of black 
 lacquer. Cord guides plated with silver. Late 17th century. 
 
 Lefit by Mr. E. Gilbertson. 
 
 35 Small Box with Tray. In imitation of mask box. Ground with gyobu in 
 
 large flakes. Decoration, flowers in gold lacquer, with incrustation of 
 mother-of-pearl, gold and silver. Sides, red lacquer over canvas. About 1700. 
 
 Lent by Mr. E. Gilbertson. 
 
Case XI. 58 
 
 36 Small Square Box. Black lacquer. Decoration, in togidashi and low relief, 
 
 gold poudre and silver lacquer. The cherry blossom of Yoshino. Early 
 
 1 8th century. 
 
 Lent by the Hon. W. F. B. Massey-Mainwaring. 
 
 87 SUZURI-BAKO. Taka-makiye on nashiji ground. Inlay of pewter and gold foil. 
 View of Fuji-san, from Miho-no-Matsubara, with salt works and boats. 
 Pewter margins (oki-guchi). Late 17th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 38 Circular Kwashi-bako, with sliding lid. Pale gold ground. Decoration, 
 chrysanthemum in gold and silver lacquer in low relief. Butterflies in gold 
 and silver foil. Early 1 8th century. 
 
 Lent by the Hon. W. F. B. Massey-Mainwaring. 
 
 89 Ko-DANSU, with Drawers. Ground, gyobu in large flakes. Decoration, in 
 gold lacquer in low relief, of varying shades. Incrustation of flowers in 
 gold, silver, mother-of-pearl and coral. Chrysanthemums and other autumn 
 flowers. Silver mountings. Style of KOMA. About I7CX). 
 
 Lent by Mr. G. Salting. 
 
 40 SUZURI-BAKO. Ground, nashiji. Decoration, in low relief, of various coloured 
 
 lacquers. Flowers, incrustation of mother-of-pearl and coral. The temple of 
 Kiyomizu, and cherry tree. Style of ist KOMA. About 1700. 
 
 Lent by the Hon. W. F. B. Massey-Mainwaring. 
 
 41 KWASHI-BAKO, with Tray. Black lacquer. Decoration, gold lacquer in low 
 
 relief. Flowers, incrustation of gold, silver and mother-of-pearl. Bouquet 
 
 of plum and narcissus, wrapped in paper folded in noshi form (for a present). 
 
 Early i8th century. 
 
 Lent by Mr. W. H. Cope. 
 
 42 Square Box. Black lacquer. Decoration, gold lacquer in low relief. Flowers, 
 
 incrustation of coral and gold. Plum, camellia and chrysanthemum. 
 
 Inside, " Kara-kusa " decoration on nashiji. Style of KOMA. i8th century. 
 
 From the Hamilton Palace sale. 
 
 Lent by Mr. G. Salting. 
 
 48 INRO. Black lacquer ground. Decoration of gold lacquer in low relief. 
 With incrustation of coral ; plum flower and bamboo. Signed KOMA 
 Yasutada. 1 8th century. Compare Nos. 42 and 44. 
 
 Lent by Mr. G. Salting. 
 
59 Case XI. 
 
 44 Inro, Black lacquer. Decoration, gold lacquer in low relief. Incrusted with 
 
 flowers of coral (or more probably stained ivory or bone) and mother-of-pearl. 
 Branch of plum blossom. Style of KOMA. 1 8th century. 
 
 Lent by Mr. G. Salting. 
 
 45 Inro. Bands of different descriptions of lacquer. In the centre band, the white 
 
 formed by an inlay of minute fragments of eggshell. i8th century. 
 
 Lent by Colonel Goff. 
 
 46 SUZURI-BAKO. Nashiji. Decoration of taka-makiye in gold and silver lacquer 
 
 with incrustation of various metals and coral. Landscape, with Buddhist 
 
 temple, pine tree and cranes. Badge of the Usuki Daimyo ; repeated on the 
 
 silver water vessel. Early iSth century. 
 
 Lent by Sir Trevor Lazvrence. 
 
 47 SUZURI-BAKO. Nashiji. Decoration, gold and silver lacquer in low relief. 
 
 Mountain landscape, with Buddhist temple and pavilion built over water. 
 
 Late 17th century. 
 
 Lent by Mr. T. W. Cutler. 
 
 48 SUZURI-BAKO. With pewter margins (okiguchi). Ground gyobu in fine flakes. 
 
 Decoration in taka-makiye. A fan, with design of monkey seated on a rock. 
 The frame of the fan of shakudo and sentoku. Mizu-ire (water-vessel) of 
 silver, with champlev^ enamel. About 1 700. 
 
 Lent by Sir Trevor Lawrence. 
 
 49 Inro. Fine gold poudr^ ground (kin-fun-ji). Decoration, gold lacquer. Monkeys 
 
 in brown and red lacquer in low relief. i8th century. 
 
 Lent by Mr. R. Plund Spiers. 
 
 50 Inro. Fine gold poudr^ ground. Decoration, in various coloured lacquers in 
 
 low relief. Monkey on horseback (Toba-ye school.) i8th century. 
 
 Le7it by Mr. Willoughby J. G. Loudon. 
 
 51 [nro. Ground togidashi lacquer in black and gold, with gold and metallic 
 
 lacquer in low relief. A bull attached by rope. i8th century. 
 
 Lent by Mr. R. Phen^ Spiers. 
 
6o 
 
 Table Case XII. 
 
 Lacquep, chiefly from the middle of 18th Century to the 
 
 present time. 
 
 Kajikawa, Shiomi, Toyo, Shunsho, Jokasai and Zeshin. 
 
 1 Collection of Lacquered Netsuk£. 
 
 (a) Netsuke. Carved wood, lacquered. Face of Ivory. Young girl with three 
 
 rice pots (nabe) on her head to conceal her beauty (Japanese tale). 
 
 (b) Netsuke. Carved wood, lacquered. Squatting coolie, with bag full of 
 
 demons (oni) on his back. 
 
 (c) Netsuke. Carved wood, lacquered. Face and hand of ivory. Fukurokuju. 
 
 (d) Netsuke. Carved wood, lacquered. The Chinese warrior Kwan-u, 
 
 stroking his beard. 
 (E) Netsuke. Carved wood, lacquered. Kneeling girl, catching a ball, 
 (temari). Signed (?) 
 
 (f) Netsuke. Carved wood, lacquered and ivory. Man dancing, with mask 
 
 of Uzume. 
 
 (g) Netsuke. Carved wood, lacquered. Monkey grasping a persimmon 
 
 with his foot, and examining a captured flea. 
 (h) Netsuke. Carved wood, lacquered. Mask of Uzume. Signed Shuzan. 
 
 Early i8th century, 
 (l) Netsuke. Carved wood, lacquered. Shojo in No dance, 
 (j) Netsuke. Carved wood, lacquered. Shell, with operculum and rings 
 
 of growth. 
 (k) Netsuke. Carved wood, partly lacquered. Dancer, with mask on top of 
 
 head. Signed M\x\Vcikvi. Early 19th century. 
 (l) Netsuke. Car\'ed wood, the red lacquer worn down to imitate old 
 
 Kamakura-bori, Shojo dancer. 
 (M) Netsuke. Carved wood, lacquered. Drunken old man, carrying 
 
 drum (tsuzumi). and dancing. 
 (n) Netsuke. Coral and ivory, lacquered. Shojo in No dance, 
 (o) Netsuke. Carved wood, lacquered. Colours and decoration of the 
 
 Buddhist school. Shoki, annoyed by a demon on his hat. 
 
 Signed Shukwo. 
 (p) Netsuke. Carved wood, lacquered. Fish, with eye of glass. Covered 
 
 with real fish-skin. Mouth stuffed with bamboo grass. 
 (q) Manju-netsuke. Netsuke in the shape of a manju cake. Wood 
 
 lacquered in black and gold. Flying Tengu. 
 (r) Netsuke, in shape of small box, gold lacquer inlaid. Signed Taishin. 
 (s) Manju-netsuke. Carved wood, inlaid with ivory and mother-of-pearl. 
 
 Tamamo-no-maye, the beautiful lady who was really a fox. Shadow 
 
 of fox carved on back. Signed Risen. 
 
6i Case XII. 
 
 (t) Netsuke, in form of ivory box. Lacquered and inlaid. The two hares 
 
 of the moon pounding mochi. Signed Ipposai Kanzan. 
 (U) Netsuke, in form of small box, lacquered to imitate shibuichi. Deer 
 
 in gold lacquer. Signed Shinsai. 
 (v) Manju-netsuke. Carved black wood. Various incrustations. Dragon 
 
 and tiger. Inscribed " Soyo certifies that this is by Somin." 
 (w) Netsuke. Carved wood, lacquered, with silver lid, to imitate tea 
 
 jar of old pottery, partly glazed. Signed Yanagawa Naomasa (for 
 
 metal work), 
 (x) Minute square box. Dark lacquer to imitate iron, inlaid with copper 
 
 wire and silver. Masts of junks, chidori and moon. 
 (y) Netsuke in form of table, lacquered in style of Ritsuo. Head of Daruma. 
 (Z) Netsuke. Black polished lacquer in form of fan. Deer and moon. 
 
 Signed Soichi. 
 
 Lent by Mr. H. S. Trower. 
 
 2 Netsuke, in form of karei fish (a kind of flounder). Lacquered in gold and 
 
 covered with real fish skin, with eyes of glass. 
 
 Lent by Sir Trevor Lawrence. 
 
 2a Netsuke, in form of Sambaso dancer. Lacquered in gold and colours. 
 
 Lent by Sir Trevor Lawrence. 
 
 3 Inro. Ground of Tsugaru lacquer. Decoration, gold, black and red lacquer in 
 
 relief. Demon carrying off the umbrella and clogs of Shoki. Signed 
 Kajikawa. About 1700. 
 
 Lent by Mr. E. Gilbertson. 
 
 4 Inro. Polished black lacquer ground. Decoration, lacquer in relief, and 
 
 incrustation of mother-of-pearl and shibuichi. Toba (Chinese poet of the 
 nth century) riding on mule back. Signed Kajikawa, and, for the metal 
 work, Joi (died 1760). 
 
 Lent by Mr. J. Gurney. 
 
 5 Inro. Black ground, poudr6. Decoration, gold lacquer in low relief. Geese 
 
 flying over rice stubble. Signed Kajikawa, with seal. 
 
 Lent by Mr. R. Phen^ Spiers. 
 
 6 Inro. Nashiji. Decoration, gold and black lacquer in low relief, and gold foil. 
 
 Choryo, picking up the shoe of Kosekiko. (Chinese story from the time of 
 the Han dynasty). Signed Kajikawa. 
 
 Lent by Colonel Gaff. 
 
Case XII. 62 
 
 7 Inro. Flat gold ground. Decoration, in low relief of gold and red lacquer. 
 
 Bronze flower vase, writing table, and materials for writing poetry. 
 
 Signed Kajikawa. 
 
 Lent by Mr. R. Pheni Spiers. 
 
 8 Inro. Black lacquer ground, with rich gyobu mosaic (kiri-kane). Decoration, 
 
 gold lacquer in low relief. Cycas trees (sotetsu) and bridge. Signed 
 
 Kajikawa, with seal. i8th century. 
 
 Lent by Mr. E. Gilbertson. 
 
 9 Inro. Black and gold lacquer in high relief. Hawk on pine tree. Signed 
 
 Kajikawa. i8th century. 
 
 Lent by Mr. R. Phen^ Spiers. 
 
 10 Inro. Ground black polished lacquer, poudrd Crows seated on branch of black 
 
 unpolished lacquer, in relief against moon of silver foil. Signed KAJIKAWA, 
 
 with seal. i8th century. 
 
 Le7it by Mr. H. S. Trower. 
 
 11 Inro. Polished dead gold ground. Decoration, gold lacquer in relief, with 
 
 incrustation of carved ivory, mother-of-pearl and tortoise-shell. Urashima 
 pouring wine for Miura Daisuk^, and long-tailed tortoise (mino-game). 
 Subjects all relating to prosperous old age. Signed Kajikawa, with seal. 
 
 Lent by Mr. E. Gilbertson. 
 
 12 Inro. Black polished ground with decoration of togidashi and gold lacquer in 
 
 low relief. Flying cranes and winter reeds. Inscribed, " Kwanko Bunryusai," 
 
 with seal. By KAJIKAWA Bunryusai, official lacquerer (probably at the 
 
 Shogun's Court). About 1800. 
 
 Lent by Colonel Goff. 
 
 13 Inro. Togidashi. Of gold and coloured lacquers. Three monkeys, with 
 
 hair of metallic shades, and pink faces. They hold their hands to their 
 mouths, ears and eyes, to avoid the temptations of a wicked world. Seal of 
 Shiomi Masanari and Signature KOMA Kioriu, with inscription " copy of 
 painting by Kano Tan-yu Morinobu." The work of Shiomi and KOMA in 
 conjunction (i*) i8th century. 
 
 Lent by Mr. E. Gilbertson. 
 
 14 Inro. Togidashi of gold and coloured lacquers. Two rats. Signed Shiomi 
 
 Masanari, with seal. i8th century. 
 
 Lent by Mr. E. Gilbertson. 
 
63 Case XII. 
 
 15 INRO. Togidashi. Polished lacquer, black and gold of two shades. Peasants 
 
 carrying bundles of wood, descending a mountain path. Seal of Shiomi 
 
 Masanari. i8th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 16 Inro, Togidashi. Polished lacquer, black and various metallic tints. Map of 
 
 Japan, with the names of the provinces written in gold lacquer. Seal of 
 Shiomi Masanari. i8th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 17 iNRO. Polished black lacquer ground. Decoration, gold lacquer in low relief 
 
 of two shades. A wild boar tied to the trunk of a tree. Seal of SHIOMI 
 Masanari. i8th century. 
 
 Lent by Mr. H. S. Trower. 
 
 18 Inro. Togidashi. Polished lacquer, black and gold. Forest of cryptomeria 
 
 trees (sugi). Seal of SHIOMI Masanari. iSth century. 
 
 Lent by Mr. Stuart Samuel. 
 
 19 Inro. Black polished lacquer ground. Black crow in low relief seated upon 
 
 the frame of a sluice-gate (of mother-of-pearl inlay). Seal of Shiomi 
 Masakage. 1 8th century. 
 
 Lent by Mr. H. S. Trower. 
 
 20 Inro. Black lacquer ground. Decoration, gold lacquer in low relief Pine 
 
 trunk and branches. Probably by one of the Shunsho family. i8th century. 
 
 Lent by Mr, Marcus B. Huish. 
 
 21 Inro. Togidashi. Polished gold and coloured lacquers. Children looking at 
 
 a "Sishi" dancer. Inscribed^ "Copy of a drawing by Hanabusa Itcho." 
 
 Style of Shunsho School. i8th century. 
 
 Lent by Mr. E. L. Montefiore. 
 
 22 Inro. Polished black lacquer ground. Decoration, taka-makiye with gyobu 
 
 and silver studs. Sea-hawk (tobi) on rock amid waves. Risers decorated 
 with cherry blossom. Signed Jokasai. End of i8th century. 
 
 Lent by Mr. M. Tomkinson. 
 
 28 Inro. Polished gold lacquer ground, poudrd in parts. Decoration, gold lacquer 
 
 of various shades in low relief, and mother-of-pearl. Peacock with tail 
 
 displayed. Signed ]ok^.'iy!\. About iSoo. 
 
 Lent by Mr. E. W. Hennell. 
 
Case XII. 64 
 
 24 Inro. Nashiji and polished black ground. Decoration, gold lacquer in relief 
 
 and gold foil. Two badges, crane with wings displayed, and paulownia (kiri). 
 
 ^ir^^^ Jokasai. About 1800. 
 
 Lent by Mr. H. S. Trower. 
 
 25 Inro. Polished gold ground. Decoration, gold, black and red lacquer in relief. 
 
 Flight of cranes. J??^^^ Jokasai. About 1800. 
 
 Lent by Colonel Goff. 
 
 26 KOGO. Small flat cylindrical box. Outside, black polished lacquer. The 
 
 surface minutely wrinkled. Inside, togidashi and gold in low relief of 
 various shades. Lespedeza flowers. Attributed to Jokasai. 
 
 Lent by Mr. Stuart Samuel. 
 
 27 Inro. Polished lacquer ground to imitate shibuichi. Decoration, gold lacquer 
 
 in low relief. Old plum trunk, with young blcssoming shoots. Described 
 
 by owner as Sendai lacquer. Insa'ibed "Design of Hoitsu " (1760-1828). 
 
 Signed Ydyusai. Early 19th century. 
 
 I^7it by Mr. E. Gilbertson. 
 
 28 Inro. Polished lacquer ground to imitate shibuichi. Decoration, gold lacquer 
 
 in relief and mother-of-pearl. Flowering plum branch. Signed Seisai. 
 
 18th century. 
 
 Lent by Mr. E. Gilbertson. 
 
 29 Tanzaku-BAKO. Long box for holding paper for writing poems. Nashiji with 
 decoration lin relief of gold lacquer of various shades, silver lacquer and 
 gyobu mosaic. Waterfall, probably Minoo-no-taki. iSth century. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 30 Ko-DANSU. Small cabinet with three drawers. Silver mountings. Black 
 
 ground, closely covered with decoration of gold lacquer in low relief. Small 
 
 autumn flowers. i8th century. 
 
 . Lent by Sir Trevor Lawrence. 
 
 31 Square Box, with Drawer. Open trellis work top. Silver mounting to 
 imitate tassel of misu. Nashiji with gold lacquer decoration. Medallion 
 with badge of two cranes with necks entwined. Ground of key pattern. 
 1 8th century. 
 
 Lent by Mr. Wm. C. Alexander. 
 
65 Case XII. 
 
 82 Fu-BAKO. Box for sending a letter. Togidashi of gold and coloured lacquer. 
 
 Mottled ground, with scattered maple leaves showing colours changing with 
 
 the light. 1 8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
 88 SUZURI-BAKO. Black polished lacquer ground. Decoration, lacquer in shades 
 of silver and gold in low relief; a brush made of eagle's feathers 
 (ha-boki). Mizu-ire of sentoku encrusted with a silver chrysanthemum 
 flower. 
 
 Lent by Mr. G. Salting. 
 
 84 SUZURI-BAKO. Black polished lacquer ground. Decoration, gold lacquer in 
 
 high relief and gold foil, helmet (kabuto) and large sword (tachi). Signed 
 on scabbard, Kwanshosai. By T6y5. Middle of i8th century. 
 
 Lent by Mr. G. Salting. 
 
 85 Inro. Gold poudr^ ground. Clouds and lespedeza in low relief. Mother-of- 
 
 pearl incrustation of flying cuckoo (hototogisu). Inscribed " Designed by 
 Hogen Eisen." Signed T^vi^nsh^osai. By Toyo. Middle of 1 8th century. 
 
 Lent by Mr. R. Phend Spiers. 
 
 86 Inro, in the Shape of a Bag. Togidashi lacquer, gold and various colours. 
 
 Convolvulus, pinks and other flowers. Signed Toyb. Middle of 18th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 87 Inro. Ground of pine wood. ' Decoration, chiefly gold lacquer ; crouching 
 
 figure of Kintoki with axe. Signed Toyo. Middle of i8th century. 
 
 Lent by Mr. H. S. Trower. 
 
 88 Inro. Ground of black lacquer poudrd Decoration, lacquer of various colours 
 
 in relief and mother-of-pearl ; an aged prince resting on a stick with a 
 dove on the crutch (hato-zuye), and supported on either side by an 
 attendant, in the costume of a Kug^. Inscribed " Designed by Toyo." 
 Middle of 1 8th century. 
 
 Lent by Mr. E. L. Montefiore. 
 
 39 Inro. Outer case, red polished lacquer ground. Decoration, in coloured lacquer 
 in low relief; a bird resembling a cassowary. Inner case, bamboo in gold 
 and black togidashi lacquer. After a design by Hogen Toshun. Signed 
 Kwanshosai. Middle of i8th century. 
 
 Lent by Mr. H. S. Trower. 
 
Case XII. 
 
 66 
 
 40 Inro. Ground of natural wood. Decoration, gold and red lacquer in relief; 
 
 branch of smilax (sankirai) with berries. Signed Toyo. Middle of i8tli 
 century. 
 
 Lent by Mr. Stuart Samuel. 
 
 41 Inro. Ground of shunkei lacquer. Decoration, in lacquer of various metallic 
 
 shades in relief ; horses feeding. Signed Toju, at the age of 70. School 
 of T5yo. 
 
 Lent by Mr. H. S. Trower. 
 
 42 SUZURI-BAKO. Polished black lacquer ground. Decoration in togidashi and 
 
 gold lacquer in relief, with mosaic of gyobu ; a pine tree overhanging 
 a mountain path. Signature engraved in lacquer of base, Shunsho. 
 1 8th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 48 Box, in form of two overlapping sheets of shikishi (paper for writing verses). 
 Black polished lacquer ground. Decoration, dark brown lacquer in low 
 relief, and gold lacquer inlaid with gyobu mosaic ; a bird perching on a 
 fir tree, and the moon over a stormy sea. Attributed by owner to Jokasai. 
 
 Le7it by Mr. Stuart Samuel. 
 
 44 Inro. Ground, poudr^ with shibuichi. Crows, of black lacquer in relief, flying 
 
 in front of moon. Signed Keiosai. Seal in red lacquer. 
 
 Lent by Mr. H. S. Trower. 
 
 45 Inro. Polished black lacquer ground. Decoration, togidashi and gold lacquer 
 
 in relief, with incrustation of gold foil and mother-of-pearl ; iris and 
 
 woodcock. Signed Shigenaga, with seal. 
 
 Lent by Mr. M. Tomkinson. 
 
 46 Suzuri-BAKO. Polished black lacquer. Decoration, gold lacquer in low 
 
 relief and incrustation of coloured pottery ; a cat playing with the cord of 
 
 a kusudama hanging in front of a bamboo screen (misu). Inside, rough 
 
 surfaced black lacquer dusted with silver (ishime-ji). Signed Ken-ya, on 
 
 small seal-shaped plaque of pottery. 
 
 Lent by Mr. M. Tomkinson. 
 
 47 Inro. Natural wood, in the shape of a pecten shell, incrusted with potterJ^ 
 
 Trochus and other shells. Signed Ken-ya, on seal-shaped plaque of 
 
 pottery. 19th century. 
 
 Lent by Mr. M. Tomkinson. 
 
67 Case XII. 
 
 48 Inro. Black polished lacquer, with decoration of same material in low relief. 
 Mallow, wistaria and other flowers. Signature, Yutokusai, engraved on base. 
 
 Lent by Mr. H. S, Trower. 
 
 40 Inro. Black polished lacquer, shading into gold. Decoration, gold lacquer in 
 low relief ; peacock resting on flowering branch. Signed Mitsutoshi. 
 
 Lent by Mr. H. S. Trower. 
 
 50 Inro. Togidashi lacquer, black, red and gold ; red gouard-shaped fruit. 
 
 Signed Shigenaga, with seal. 
 
 Lent by Mr. E. Gilbertson. 
 
 51 Inro. Gold lacquer, in relief, on poudr^ ground, with gyobu mosaic. Mountain 
 
 landscape, with waterfall, flowering plum tree, and long tailed tortoises 
 (mino-game). Netsuke, a Sambaso dancer. Signed Kakosai. 
 
 Lent by Colonel Goff. 
 
 52 Inro. Polished gold ground, decorated with gold lacquer, in relief, of various 
 
 shades, and gyobu mosaic. Fukurokuju riding on a stag. Signed Kakdsai. 
 
 Lent by Colonel Goff. 
 
 53 Inro. Five lobed. Black polished lacquer ground. Decoration, gold lacquer 
 
 and mother-of-pearl inlay ; bean plant, with flowers and pod. Signed 
 Yen-ami, with seal Shigemune. 
 
 Lent by Mr. Stuart Samuel. 
 
 54 Inro. Black ground. Decoration, gold lacquer in relief, fine poudr^ ; carp 
 
 leaping amid waves. Signed Myosai. 
 
 Lent by Colonel Goff. 
 
 55 Inro. Poudre ground. Decoration, gold and coloured lacquer in relief; the 
 
 peach of Momotaro floating down the stream (story of " Peachling "). 
 Signed Shokwasai Gy5bu. 
 
 Lent by Mr. E. W. Hennell. 
 
 56 Inro. Polished gold lacquer ground. Decoration, in gold and dark coloured 
 
 lacquer, in relief; falcon standing on rock. 6"?^z^rf Shokwasai Masatsune, 
 
 Lent by Colonel Goff. 
 
Case XII. 68 
 
 57 Inro. Polished gold ground. Decoration, gold and coloured lacquers, in relief, 
 
 incrustation of ivory and mother-of-pearl ; Yebisu and Daikoku dancing 
 under a straw rope (shime-nawa, to ward off evil influences). Signed in 
 lacquer, Shokwasai, and on mother-of-pearl plaque, Shibayama (for face 
 and hands). 
 
 Lent by Mr. E. Gilbertson. 
 
 58 Inro. Polished gold ground. Decoration, gold lacquer, and lacquer imitating 
 
 other metals, in low relief ; mask box, with masks, cap and rattle, for the 
 No dance. Signed Shorinsai. 
 
 Lent by Mr. R. Plien^ Spiers. 
 
 59 Inro. Gold lacquer in relief on black ground, poudr^, passing into gold. The 
 
 rake of Jo and Uba, on the strand of Takasago. Signed Sokyusai. 
 
 Lent by Colonel Goff. 
 
 60 SUZURI-BAKO. In the shape of two overlapping sheets of paper for writing 
 
 uta (shikishi). Polished black lacquer, one square inlaid with mother-of- 
 pearl, the other lacquered with gold. Two Japanese poems, referring to the 
 spring dawn and the autumn moon. Signature Yamada Jokasai, engraved 
 in the lacquer. 
 
 Lent by Mr. Stuart Samuel. 
 
 61 Inro. Black poli.shed lacquer ground. Decoration, in gold lacquer and 
 
 mother-of-pearl. Cicada (semi), butterflies, dragonflies and other insects. 
 Signed Kajikawa, with seal. 
 
 Lent by Mr. Edward Dillon. 
 
 62 Inro. Polished lacquer ground to imitate shibuichi. Wild boars in relief, of 
 
 similar lacquer finely chased, bamboo grass of gold lacquer and mother-of- 
 pearl. Attributed to Zeshin (i 807-1 891). 
 
 Lent by Mr. M. Tomkinson. 
 
 63 Inro. In shape of square box. Ground of partly polished purple-black lacquer. 
 
 Decoration, of black polished lacquer in low relief; a bridled horse. 
 Signature Zeshin, engraved in fine lines. (1807-1891.) 
 
 Lent by Mr. M. Tomkinson. 
 
 64 GWA-JO. Album of ten sketches, painted in coloured lacquer on paper. 
 
 S'i^^i^ Zeshin, with seal; also on two of the sketches, " At the age of 81." 
 
 (1887.) 
 
 Lent by Mr. Wm. C. Alexander. 
 
69 
 
 Wall Case XIII. 
 Supplementapy to Table Cases IX. and X. 
 
 1 Small Cabinet. Mounted with silver. Black ground, coarsely decorated 
 
 with painted gold lacquer and inlay of mother-of-pearl. Sprays of various 
 flowers. Attributed to the period of Ashikaga Yoshimasa. 15th century. 
 
 • Lent by Mr. M. Tornkinson. 
 
 2 Okimono. Seated figure of a lady. Carved wood, the face silver lacquered, 
 
 the dress with gold lacquer on brownish and red ground, to represent 
 
 brocade. The hands appear to have formerly held some object. 
 
 17th century, or perhaps earlier. 
 
 Lent by Mr. Stuart Samuel. 
 
 3 Tray. In form of a Badarai. Base of rough brown lacquer of various 
 
 shades, representing clouds, partially covering flowering trees of plum and 
 camellia in incrustation of mother-of-pearl. Round the sides, an elaborate 
 incrustation of naturals .shells, seeds, various minerals and other objects, with 
 landscape of mother-of-pearl inlay between. 17th century or earlier. 
 
 Lent by Sir Charles Robinson. 
 
 4 Box, in the shape of a nagamochi (travelling chest slung on pole). Fine 
 
 nashiji, decorated with gold lacquer in low relief, and silver. Flowing 
 pattern of chrysanthemum branches, with medallions. The two badges of 
 Okabd, Inaba no Kami. Copper gilt mountings. 17th century. 
 
 Lent by Sir Henry Howorth. 
 
 5 Large Mask. (Men.) Carved wood covered with red lacquer (inside, brownish- 
 
 black lacquer). Kamakura-bori. Signed inside with gold lacquer, D£Mft 
 Bingo no Daijo with kakitian (monogram). Late 17th century. 
 
 Lent by Mr. T. W. Qitler. 
 
 6 Figure of Saigyo, famous pilgrim, poet and priest of the I2th century. Red 
 
 lacquer on carved wood. The black patches are mostly painted over the 
 
 red, apparently as repairs, but some show the original black ground. 
 
 Kamakura-bori. Probably before i6cx). 
 
 Lent by Mr. M. Tornkinson. 
 
Case XIII. 70 
 
 7 Temple Gong (Bangi). Carved wood in form of fish-like monster, the tail 
 
 ending in the head of a bird. Eyes of glass. Painted with lacquer of various 
 
 colours. Kamakura-bori. Probably before 1600. 
 
 Compare sword (Case V., No. 61). 
 
 Lent by Mr. W. Harding Smith. 
 
 8 Large Mask. (Men.) Purple red lacquer (Shunkei-nuri) on carved wood. Inside 
 
 black lacquer. Signed DfiMfi Bingo no Daij5, Taira no Mitsutaka, with 
 kakihan, painted in gold lacquer. Kamakura-bori. Late 17th century. 
 
 Lent by Mr. T. W. Cutler. 
 
 9 Circular Box on three legs. In the shape of a hokai (for holding rice). 
 
 Nashiji. Floral decoration of gold lacquer. Mounted with gilt copper. 
 
 Lent by Mr. J. Gumey. 
 
 10 SUZURI-BAKO. In the form of a koto. Nashiji. Decoration, gold poudre, 
 
 in different tints and fine diapers. Tortoise-shell inlay. Okiguchi of 
 
 pewter. Early i8th century. 
 
 Lettt by Colonel Goff. 
 
 11 Shakuhachi (Pipe). Nashiji on bamboo. Two badges represented by 
 
 the uncovered ground, with gold lacquer decoration of deer. Probably 
 
 17th century. 
 
 Lent by Mr. E. Gilbertson. 
 
 12 Model ok Court Carriage (Gosho-guruma), with support and steps. Carved 
 
 wood lacquered. Nashiji decorated with gold and black lacquer. Diaper 
 pattern, and badge-like decoration of pine and bamboo combined. Lined 
 with sliding panels finely decorated, before which hangs the misu (screen of 
 bamboo and silk). Mounts of copper gilt. Drawn by ox of carved wood 
 lacquered black. Probably about 1700. 
 
 Lent by Sir Trevor Lawrence. 
 
 18 KORO. Wood, lacquered, with metal cover and inner lining. Black lacquer 
 
 ground. Decoration, partly togidashi in colours, partly gold lacquer 
 
 painting. Vines and rough fencing (magaki). Attributed to one of the 
 
 Shunsho family. Early i8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
 14 SUZURI-BAKO. In the shape of a koto. The strings of metal. Mokume and 
 diapered ground of gold lacquer. Okiguchi of pewter. 1 8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
71 Case XJII. 
 
 15 Small JO-KOGO. Lid shaped like koto. Gold lacquer, with diapers and floral 
 
 decoration in low relief. 
 
 Lent by Mr. R. PhenJ Spiers. 
 
 16 Small Oblong Box. Mounted with pewter okiguchi. Fine togidashi lacquer, 
 
 gold of various shades, and red. Dragon on either side. Inscribed " Shiomi 
 
 Masanari kore-wo yegaku," and seal Shiomi Masanari. Designed and 
 
 lacquered by Shioml 
 
 Lent by Mr. Stuart Samuel. 
 
 17 Vase, with Lid. Lined inside with silver-gilt. Perhaps for the ashes in the 
 
 incense game. Black lacquer ground. Decoration, gold lacquer. Trellis 
 
 of bamboo and plum blossom. i8th century. 
 
 Lent by Mr. W. Harding Smith. 
 
 18 KOGO. Very small cylindrical box. Finely polished black lacquer. 
 
 Decoration, gold lacquer. Kiku and kiri badges. Style of ShunshS. 
 
 1 8th century. 
 
 Lent by Colonel Goff. 
 
 19 Sak£ Bottle. In the form of a kneeling figure of a page (kosho) in ceremonial 
 
 dress. Carved wood, lacquered. Brocaded robe of nashiji, with kiri flowers 
 
 of gold and silver lacquer and foil. In his hand he holds a silver tokuri. 
 
 Attributed to one of the Kajikawa family. 
 
 Lent by Mr. A. W. Franks. 
 
 20 Bivalve Shell. Inside, plain gold lacquer ground. Decoration, gold and 
 
 silver lacquer in low relief (i) Daikoku playing with a rat. (2) Rat 
 gnawing a bifurcated radish (daikon). iSth century. 
 
 Lent by Sir Trevor Lawrence. 
 
 21 SUZURI-BAKO. Black lacquer. Decoration, togidashi and lacquer paint. 
 
 Gold and various colours, poudr6 with gold. Wild boar sleeping under 
 
 a lespedcza bush, and moon. Style of ist or 2nd Shunsho. Late 17th 
 
 or early 18th century. 
 
 l^nt by Mr. W. Harding Smith. 
 
 22 Seated Figure. Of carved wood, lacquered, in the costume of a Kug^. A scrap 
 
 of paper pasted on the base says, " This is made by Dai-busshi Sakyo. As 
 " this old and rare specimen should be kept with great care (though originally 
 " only carved wood), it has been lacquered in 1879 with a representation 
 "of the costume of Kusunoki Masashige" (the great Imperialist in the 
 14th century). Kiku-sui badge of Kusunoki on breast. Judging from the 
 face, which remains unlacquered, the original figure is one of some antiquity. 
 
 Lent by Mr. M. Tomkinson. 
 
Case XIII. 72 
 
 28 Small Oval Box. Ground of gyobu in small flakes. Decoration, gold of 
 
 various shades in low relief. Instruments of the old Court musicians, and 
 
 misu (hanging bamboo screen). Attributed to 2nd Kajikawa. Early 
 
 1 8th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 24 JO-KOGO. Nest of incense boxes, inclosed in a small model of a Court carriage. 
 
 Gold lacquer basket-work ground with kiku badges. Silver mounts. The 
 boxes inside of gyobu in closely crowded flakes. Early i8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
 25 Ko-DANSU. Small cabinet. Nashiji with silver mounts. Decoration, togidashi 
 
 and gold lacquer in low relief Onagadori (long-tailed bird) and sprigs of 
 
 various flowers. Attributed to Shiomi. 
 
 Lent by Mr. Stuart Samuel. 
 
 26 Box OF Carved Wood. Lacquered in various colours. The goddess Uzume 
 
 asleep, her head resting on a pillow. i8th century. 
 
 Lent by Sir Henry Howorth. 
 
 27 KOGO. Small square box of natural pine wood lacquer-varnished, with pewter 
 
 okiguchi. Inside, gold lacquer in low relief Small waves breaking on the 
 shore with gyobu inlay to represent shells. Attributed to Shiomi Masanari. 
 
 Lent by Mr. Stuart Samuel. 
 
 28 SUZURI-BAKO. Black polished lacquer. Design of coloured lacquer in low 
 
 relief. Figure of a young samurai or page (kosho) with a dog, red brocaded 
 
 dress, face and hands of silver lacquer. Attributed to one of the KOMA 
 
 family. 18th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 29 Small box for Tea or INcense. Bamboo, decorated with black and gold 
 
 lacquer. On the top is written Myoye Shonin, the name probably of the 
 
 priest who composed the verses below. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 80 Ko-BAKO. Box for holding different kinds of incense, and implements 
 
 used for incense burning. The tray holds six boxes, decorated with birds 
 
 and flowers in gold lacquer. Lid nashiji, with landscape and folded paper, 
 
 in gold of various shades, gyobu and gold foil. Said to have formerly 
 
 belonged to the Daimy5 Mizuno. Attributed to one of the KoMA 
 
 family. 1 8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
73 Case XIII. 
 
 31 FUBAKO. Small despatch-box. Nashiji. Decoration, a camellia flower and 
 folded letter, gold lacquer in relief and mother-of-pearl. Medallions of 
 filigree cloissons filled with coloured lacquer. Attributed to Bun.sai. 
 
 Lent by Mr. M. Tomkinson. 
 
 31a Inro. Black lacquer. Decoration, gold lacquer, and filigree cloissons filled 
 with lacquer of various colours imitating enamel. The badge of the Tanabe 
 family. Seal of Bunsai. Early 19th century. 
 
 Lent by Mr. E. Gilbertson. 
 
 32 KOGO. Small circular box. Togidashi, gold poudre ground. Fruit and leaves 
 
 of strawberry or bramble. 1 8th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 33 Small cylindrical Box. Nashiji. Decoration, gold of two shades in low 
 
 relief. A crane with outstretched wings. Attributed to Jokasai (18th- 
 19th century). 
 
 Lent by Mr. Stuart Samuel. 
 
 34 Ko-DANSU. Small cabinet. Silver mountings. Ground poudr^ with small 
 
 gold flakes. Decoration, gold and silver lacquer in low relief; various small 
 flowering plants. Attributed to Shiomi Masanari. 1 8th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 35 Natsum£ for powdered tea. Gold lacquer ground. Decoration, gold 
 
 and black lacquer and incrustation of mother-of-pearl. Foliage and 
 flowers. Signed Korin. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 36 Natsum£ for powdered tea. Black polished lacquer. Decoration, gold 
 
 lacquer shading ofi" into black. Black lacquer twigs of pine in low relief. 
 
 Inside, conventional chrysanthemum flowers in lacquer, of various metallic 
 
 shades. Signed, on base, Buncho. 
 
 Lent by Mr. Wtn. C. Alexander. 
 
 37 SUZURI-BAKO. Brownish black polished lacquer ground, partly covered with 
 
 plain gold lacquer. Decoration, lacquer in flat low relief, with incrustation 
 of lead, pewter and mother-of-pearl. The poet, Narihira, on horseback. 
 Signed Korin (in gold lacquer under the inkstone). 
 
 Lent by Mr. Stuart Samuel. 
 
Case XIII. 74 
 
 38 KOGO. Small box for incense. Dark poudrd ground. Decoration, g^old lacquer 
 
 in low relief, plum blossom and bird. Scattered gyobu to represent snow. 
 Inside, two smaller boxes. i8th century. 
 
 Lent by the Hon. IV. F. B. Massey-Mainwaring. 
 
 39 Ju-KOGO. Nest of incense boxes. Black lacquer with finely wrinkled surface. 
 
 Decoration, gold lacquer ; water-wagtail (sekirei) on rock. Inside, gyobu in 
 large flakes. 
 
 Lent by Mr. Win. C. Alexander. 
 
 40 KOGO. Small square box. Polished black lacquer. Decoration, gold poudrd, 
 
 and gold of various shades in low relief. Hill top covered with forest 
 
 trees. Late i8th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 41 SUZURI-BAKO. Inside of lid shown. Nashiji, with decoration in low relief of 
 
 gold lacquer, gyobu mosaic, gold foil, and mother-of-pearl. Maple and pine 
 
 swayed by autumn wind. i8th century. 
 
 Le7it by Mr. T. IV. Cutler. 
 
 42 Small Cylindrical Box. Ground poudr^ to imitate shibuichi. Decoration, 
 
 flowering grasses drawn in gold lacquer. 
 
 Lent by Mr. F. Yeats Edwards. 
 
 43 Ko-ir£. Small oval box. Black polished lacquer, with togidashi decoration of 
 
 fern. Attributed to one of the Shunsho family. iSth century. 
 
 Lent by Mr. Stuart Samuel. 
 
 44 Natsum£, for powdered tea. Shunkei lacquer, showing natural grain of 
 
 wood. Riser decorated with landscape of gold lacquer. Attributed to 
 
 Shokasai. 
 
 Lent by Mr. Stuart Samuel. 
 
 45 SUZURI-BAKO. Polished black lacquer ground. Decoration, gold lacquer and 
 
 incrustation of mother-of-pearl and lead. Cleyera tree (sakaki), torii, and 
 
 rustic hedge. Signed on the base, Korin, but attributed by owner to 
 
 19th century imitation of the Korin style. 
 
 Lent by Mr. M. Tomkinson. 
 
 46 JO-KOGO. Nest of small square boxes. Polished black lacquer ground, 
 
 decorated with pold lacquer in low relief, and mother-of-pearl. "The Eight 
 views of Lake Biwa," treated in Chinese style. 18th century. 
 
 Lent by Sir Trevor Lawrence. 
 
75 Case XIII. 
 
 47 Scarf Box. Decoration, gold lacquer in relief, with gyobu mosaic. River (of 
 
 togidashi), winding between low banks, covered with the lespedeza plant 
 (hagi). 1 8th centur>'. 
 
 Lent by Mr. J. M. Swan. 
 
 48 Cabinet, with Four Drawers. Decoration, gold lacquer trellis work, with 
 
 insects and frogs, over togidashi of various flowers in gold poudre. 
 1 8th centuiy. 
 
 Lent by Sir Trevor Lawrence. 
 
 49 Box, WITH Tray. Polished black lacquer. Decoration, gold lacquer of two 
 
 shades in low and high relief. Landscape with houses built over stream, pine 
 
 tree and sagittaria. 1 8th century. 
 
 Lent by Mr. IV. H. Cope. 
 
 50 Square Box. Black polished lacquer ground. Decoration, togidashi, in gold, 
 
 silver and colours. Chinese boys catching butterflies under a cherry tree. 
 
 Style of the Shunsho family. 
 
 Lent by Mr. Stuart Samuel. 
 
 51 Square Box, with Tray. Black polished lacquer. Decoration, gold and silver 
 
 lacejuer in low relief. Stag by river and maple tree. Attributed by owner 
 
 to KoMA Kiuhaku. 
 
 Lent by Mr. Stuart Samuel. 
 
 52 SUZURI-BAKO. Polished ground of thin black lacquer, showing base of woven 
 
 material. Decoration, togidashi, of silver and gold of two shades. Autumn 
 
 flowers. Mizu-ire of shibu-ichi, with inlay of silver and gold, in the form of 
 
 a stag. Red lacquer seal oi Shiomi Masanari. 
 
 Lent by Mr. G. Salting. 
 
 53 Natsum£. Box for powdered tea. Coarse nashiji, with kiku flowers in gold 
 
 lacquer. 
 
 Lent by Colonel Goff. 
 
 54 Oval Plaque. Dark wood (probably cryptomeria). Natural grain of wood in 
 
 relief. Decoration, wood, lacquer and mother-of-pearl in high relief. 
 
 Gourd flask (hyotan) covered with red netting, and small plant with red 
 
 berries. Seal, Kwan. By Ritsuo. i8th century. 
 
 Lent by Mr. G. Salting. 
 
 55 S.MALL Suzuri-BAKO. Nashiji, decorated with gold and silver lacquer. 
 
 Cherry-blossom. Silver niizu-ire, also in form of cherry blossom. 
 
 Lent by Mr. R. Pheni Spiers. 
 
 56 Bowl, with Cover. Red lacquer, decorated with gold and black lacquer ; 
 
 hawk and pine tree. 
 
 Lent by Mr. T. IV. Cutler. 
 
76 
 
 Case XIV. 
 
 Implements used in Incense burning^, and other small objects 
 
 of lacquer. 
 
 1 JlSSHU-KO-BAKO. Box for the implements and articles used in the Game of 
 Perfumes (Ko-awas^). Taka-makiye, on nashi-ji, with plum flowers 
 in silver, and rocks, clouds, &c., in gy5bu. Landscapes, with the combina- 
 tion, pine, bamboo and plum. Inside of lid, chrysanthemums, lespedeza and 
 bamboo grass (arundinacea sp.), with dewdrops in silver. 
 
 The Game of Perfumes (Ko-awase) is an ancient game, which was 
 confined to the court nobles and aristocracy, in which various kinds of incense 
 were burnt in a ceremonial manner. The players had to guess the names of 
 the incense or mixtures of incense burnt, and to indicate their decisions by 
 means of the counters with which each was supplied. The incense was used 
 in the form of a coarse powder previously made, or sometimes it was 
 prepared during the game from fragrant woods, which were cut up with the 
 implements (k) on the block (l). It was placed on a mica plate with a silver 
 spoon. The plate was then held over the burning charcoal in the Koro (e), 
 with the silver forceps seen in (l) until it was thoroughly ignited and the 
 perfume given off. The plate was then placed on one of the mother-of-pearl 
 knobs on the tray (h) to cool. When cold, the ash and unburnt portions 
 were emptied into the box (n). Scented flowers were prohibited in the 
 decoration of the room. No very trustworthy information can be obtained 
 regarding all the details of the game and the exact manner in which the 
 counters and ruled board were used. There were evidently several modes of 
 playing, but no complete account of them has been published in any known 
 Japanese book. 
 
 The following articles and implements (a) to (n), which belong to this box, 
 are used in the game: — 
 
 (a) Kiroku-suzuri, writing box used for making notes. 
 
 (b) Box for holding the " ori-suye " (d). 
 
 (c) Ko-fuda-bako, box containing the counters (k5-fuda) in ten small 
 
 receptacles. 
 
 The counters. There are 120 of these, divided into four series of 
 thirty each. The counters of each series bear, respectively, the 
 numerals i, 2, 3, and the word "guest" (kyaku) on one face, and on 
 the other face, one of the following ten designs: the Japanese 
 
I 
 
 77 Case XIV. 
 
 nightingale (cettia cantans), a willow, the asarum (aoi), mandarin 
 ducks, a cicada, crane, tortoise, chrysanthemum, the moon, and snow 
 crystals. Thus in each series of thirty there are three counters of 
 each of these designs, viz., three bearing a nightingale, three a willow, 
 and so on. 
 
 The counters are of shitan wood (Pterocarpus sp.) with the 
 numbers and decorations in gold and silver lacquer. 
 
 (d) Ori-suye, small folded bags of gilt paper or silk in which the incense is 
 placed for use. 
 
 (E) Koro. Small brazier, with cover in pierced silver, for holding the 
 burning charcoal over which the incense is heated. 
 
 (f) Fuda-zutsu. Ivory vessel, in the shape of a bamboo stem, in which 
 
 the counters are placed by the players. 
 
 (g) Ju-k5g5. Small box in three tiers for holding pieces of fragrant 
 
 woods, and charcoal. 
 
 (h) Gin-dai. Tray, with thirteen mother-of-pearl medallions in the 
 form of chrysanthemum flowers on nashi-ji. The mica plates 
 bearing the incense, after being heated over the brazier, are placed 
 on these to cool. 
 
 (l) Ko-saji-hi-suji-tate. Silver stand, chased and pierced, for holding the 
 following implements : — 
 
 Gin-basami. Silver forceps by which the mica plates (m) are 
 held over the brazier (e). 
 
 Hai-osaye. A silver spatula used for arranging the ash upon 
 which the burning charcoal rests in the brazier. 
 
 Hi-aji. A small instrument said to be used for testing the heat 
 of the fire. 
 
 (j) K5-ban. A board ruled in ten columns, each containing ten rectangular 
 spaces. The head of each column bears the name of one of the ten 
 designs found on the counters. • 
 
 (k) Frame, in nashiji and kinji, for holding the following implements 
 (ko-dogu): — 
 
 Hi-bashi, " chopsticks " used in arranging the charcoal in 
 
 the brazier. 
 Ko-nokogiri, a saw \ 
 
 Nomi, a chisel / Used in cutting up and preparing 
 
 A small feather brush > fragrant woods for use 
 
 Ko-gatana, a knife V as incense. 
 
 Tetsu-kine, a hammer / 
 
Case XIV. 78 
 
 (l) Kizami-ban. Block, in shitan wood bound with silver, used in cutting 
 up woods for incense. 
 
 (m) Gim-ban. Mica plates, ten in number, with silver edges, upon which 
 the incense is burnt. 
 
 (n) Taki-gara-ird. Vessel, in the form of a bamboo stem, for receiving the 
 ashes of the burnt incense. 
 
 The lacquer articles are in kin-ji, makiye and nashi-ji, with landscapes 
 and decorations corresponding with those on the large box 1. 
 
 Lent by Mr. J. Gurney. 
 
 2 KOGO. Small perfume box. Gold lacquer in low relief on a ground of black 
 
 lacquer. Decoration. Foliage in arabesques, and Chinese birds (onagadori) 
 conventionally represented. 
 
 Lent by Mr. A. W. Franks. 
 
 3 KOGO. Small perfume box. In kin-makiye and hiyomon. Decoration. The 
 
 wooden saddle formerly in use in Japan, in relief, bearing a badge. The side 
 
 flap or saddle cloth in togidashi in imitation of leather with gold arabesques. 
 
 Sides in plain gold lacquer (kinji). Attributed by the owner to one of the 
 
 Kajikawa family. 
 
 Lent by Mr. A . W. Franks. 
 
 4 Small Box. Lacquer, gold poudr^ ground, with broad band of arabesques upon 
 
 which are cherry flowers in kin-makiye in low relief 
 
 Lent by Mr. Wm. C. Alexander. 
 
 5 JO-KOGO. Small box in tiers. Togidashi and coarse gold poudre. Diapers on 
 
 a dark ground of lacquer with gold poudrd 
 
 Lent by Colonel Gaff. 
 
 6 Ko-DANSU. Two small cabinets. Gold lacquer on plain wood (Pterocarpus) 
 
 with thin plates of silver and gold inlaid, and silver mounts. Peonies and 
 
 butterflies. Pine, bamboo and plum. 
 
 Lent by Colonel Goff. 
 
 7 KOGO. Small perfume box. Togidashi in two kinds of gold on a black ground. 
 
 A man and woman bleaching cotton cloth by the side of a stream. Inscribed 
 
 " Hokusai-6 no ye Kajikawa utsusu " with seal. A picture by Hokusai 
 
 (born 1760, died 1849) copied by KAJIKAWA. 
 
 Lent by Mr. Stuart Samuel. 
 
 8 K6G5. Small perfume box. Togidashi in three kinds of gold. Cryptomeria 
 
 and pines. The dawn indicated by mist and red clouds. 
 
 Lent by Mr. Wm. C. Alexander. 
 
79 Case XIV. 
 
 9 Tabako-IR£. Tobacco pouch. Made of shells of the Haliotis (awabi). A snake 
 and frog in taka-makiye and gold poudr^. Cover, wood carved to represent 
 a rock, with a snail in shell inlaid. Signed Shomosai \\\\\\ kakthan. 
 
 Lent hy Mr. H. S. Trower. 
 
 10 Whistle, in the form of a miniature conch (hora), used now by pilgrims and in 
 
 ancient times in battle. Lacquer with silver and gold poudre. Attributed 
 by the owner " probably " to KOMA Yasunori. 
 
 Lent hy Mr. A. W. Franks. 
 
 11 Covered Box. Gold lacquer on a black ground. Edges of box and cover 
 
 mounted with silver. The badge of the Tokugawa family of Shoguns, and 
 floral arabesques. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 12 Ju-KOGO. Small box in three tiers used in the Perfume Game. See No. 1 (g). 
 
 Gold lacquer with kiiiji and gyobu nashiji and gold poudre. Flowering 
 shrubs lespedeza on the banks of a stream. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 13. Ko-BAKO. Small box in the form of a bivalve. Quails in relief in brown 
 
 lacquer, with lines in gold lacquer on a silver and lacquer ground (ginji), in 
 
 imitation of shibuichi encrusted with copper. After a design by Ry5kwa 
 
 Hoitsu (died 1828). Signed Y by usa.\. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 14 ZUSHI. Small shrine in the form of a box. Outside, gold lacquer kinji with 
 
 the kiri and kiku badges in black on the cover, and the badge of the 
 
 Tokugawa family on the bottom. The inside contains a figure of Bishamon, 
 
 one of the seven gods of Good Fortune, supported by a female divinity and 
 
 attended by two guardian demons. 
 
 Lent by Mr. T. W. Cutler. 
 
 15 ZUSHI. A portable shrine in the form of a small box. Cover in togidashi. 
 
 Diapers and medallions in two kinds of gold in coarse poudre on a red and 
 gold poudr^ ground. Inside of box, kin-nashiji. The figure of Amida 
 (Amitabha) is of the wood of a camphor tree (Cinnamomum camphora) from 
 the ruined temple of Hiso in the province of Yamato. Below the figure, in 
 six compartments, are rolled pebbles, chiefly of quartz, in resemblance of 
 Buddhist relics (Shari), covered with a plate of rock crystal. 
 
 Lent by Mr. M. Tomkinson. 
 
Case XIV. 80 
 
 16 Miniature Mask. Box with model of a mask used in a ceremonial dance. 
 
 Carved wood, gilt and painted in colours. Box, gold and black lacquer, 
 chequer and misu pattern with paulownia flowers arranged as a badge. 
 
 Lent by Sir Trevor Lawrence. 
 
 17 KOGO. Small perfume box. Togidashi and kin-makiye. Ground of togida.shi 
 
 in several tints of gold and red lacquer. Chrysanthemum flowers and 
 
 arabesques. Decorated with broad zig-zag band of kin-makiye, bearing 
 
 autumn flowers. 
 
 Lent by Mr. E. Gilbertson. 
 
 18 Ju-KOGO. A small box for incense in three tiers, in the form of a temple bell 
 
 (tsuri-gan6) ; kin-gin-makiye. 
 
 Lent by Mr. R. Phen^ Spiers. 
 
 19 KOGO Small perfumed box. Tsuishu. Carved red lacquer, on a ground of 
 
 conventional waves (sei-gai-nami). Bands of conventional leaves, and of 
 a modification of the raimon fret pattern surround the bottom of the box. 
 
 Lent by Mr. G. Salting. 
 
 20 ZUSHI. Small shrine containing a figure of a Buddhist divinity standing on a 
 
 lotus. Inside the doors and behind the figure are representations of the 
 precious things (takara-mono). See Glossary. Outside, kin makiye and 
 gyobu on a nashiji ground. Peonies with rocks and clouds. 
 
 Lent by Mr. E. Gilbertson. 
 
 21 KOGO. Small perfume box. Togidashi. A phoenix (Howo) in various shades 
 
 of gold lacquer, on a black ground. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 22 Ko-DAI. Stand for the implements and articles used in the "Game of Perfumes." 
 
 Kin-makiye, hiyomon and gyobu on a nashiji ground. Peony flowers, 
 leaves and arabesques in gold lacquer, in three tints of gold in low relief. 
 The badge of the Tokugawa family in plates of gold and kin-makiye. 
 
 Lent by Mr. J. Gurney. 
 
 23 A. to P. Ko-DOGU. Implements and articles for the " Game of Perfumes," 
 
 belonging to the Jisshu-ko-bako, Case XVI., No. 43. Black lacquer, with 
 decoration in two tints of gold. Hexagonal diapers, paulownia flowers, and 
 the badge of the Hosokawa family of daimyo. 
 
8 1 Case XIV. 
 
 The Set contains some articles in addition to those comprised in No. i; 
 also some differing from them ; these only will be described liere. For a 
 description of tlie others, reference is requested to No. i. 
 
 (a) Ko-bon. Tray upon which several of the articles are placed during the 
 
 game. 
 
 (b) K5ro. A pair of braziers. 
 
 (c) Takigara-ire. Vessel for the incense ash. 
 
 (d) Fuda-zutsu. Vessel for receiving the counters. 
 
 (e) Ko-saji-hi-suji-tatd Stand, in silver, pierced and chased with cranes 
 
 and conventional clouds. Contains the following implements : — 
 Gim-basami, silver forceps. 
 Hai-osaye, silver spatula. 
 A feather brush. 
 Ko-saji, silver incense spoon. 
 
 (f) Kogo. Box for holding fragrant woods. 
 
 (G) Ori-suye. Small bags of silk, decorated with gold, in a box 
 containing ten. 
 
 (h) Ko-fuda-bako. Box containing counters (ko-fuda), in ten small 
 deep trays. 
 
 The counters arc 120 in number. They are divided into four 
 series which are marked respectively with the numbers i, 2, 3, and 
 the syllabic character " U," signifying guest, on one side. This side 
 also bears in one corner, in addition to these marks, the crescent 
 moon (mika-zuki) or a plum flower, or the corner is left vacant. The 
 other side of each counter is decorated with one of the following 
 designs : — 
 
 Sho, a mouth organ. 
 
 Hichi-riki, a flageolet. 
 
 Koto, a horizontal lyre of thirteen strings. 
 
 Biwa, a lute. 
 
 Yamato-goto, a horizontal lyre of six strings. 
 
 O-teki, a flute. 
 
 Kakko, an ancient form of drum. 
 
 Tori-kabuto, a cap worn in ceremonial dances. 
 
 Furi-tsuzumi, two small drums fixed to a staff. 
 
 Tai-ko, a flat drum in a perpendicular frame. 
 
 Sho-ko, a gong suspended in a circular frame. 
 
 Zu-dak^, Pandean pipes. 
 
 The numbers and designs are in gold and coloured lacquer on 
 the plain wood. 
 
Case XIV. 82 
 
 (l) Ko-ban. A board ruled in twelve columns, each column containing six 
 rectangular spaces. It is divided into two parts, the first six columns 
 (on the right) being intended for the counters bearing the plum flower 
 and the other six for those bearing the crescent moon. At the top of 
 each column is the name of one of the twelve designs which appear 
 on the counters. 
 
 (j) Nobori. Small flags, of which there are twelve, with floral and other 
 designs. The two shown bear the sun and crescent moon — a very 
 ancient device — and wistaria flowers. 
 
 (k) Frame for holding the following implements : — 
 Nomi : a chisel. 
 Ko-zuchi : a hammer. 
 Ko-gatana : a knife. 
 
 Hibashi : " chopsticks," for arranging the fire in the brazier. 
 Ko-bashi : " chopsticks," for use with incense. 
 
 (l) K5-tbutsumi. Wrappers containing packets of perfume. There are 
 twelve of these, each decorated with gold and coloured designs, 
 flowers, birds, landscapes, &c. Only two are shown — one decorated 
 with a landscape, with a bridge in the foreground in the style of the 
 Yamato-ye ; and the other with the pine, bamboo and plum. 
 
 (m) Wrapper containing plain folded sheets of paper (nanori-gami), on 
 which the names of the players are written. 
 
 (n) Gim-ban. Mica plates, with silver edges, ten in number. 
 
 (o) Kizami-ban. Wooden block. 
 
 (p) Gin-dai. Tray with mother-of-pearl medallions. 
 
 Lent by Sir Trevor Lawrence. 
 
 24 TAKI-GARA-IRli. A vessel for receiving the ashes of burnt incense in the 
 
 Perfume Game. Polished red lacquer. Decorated with chrysanthemums 
 and arabesques in gold and black. The lower portion surrounded with the 
 fret called manji-kuzushi. 
 
 Lent by Sir Trevor Lawrence. 
 
 25 Ko-BAKO. Small box. Togidashi and taka-makiye, the higher parts with 
 
 gyobu. The upper reaches of the Yoshino river, with clouds of fireflies. 
 Attributed by the owner to one of the Kajikawa family. 
 
 Lent by Mr. A. W. Franks. 
 
 26 Ko-BAKO. Small box. Polished black lacquer sprinkled with gold, with maple 
 
 leaves. Medallions in the forms of fans and scrolls in kin-makiye. 
 
 Pheasants and autumn flowers, sparrows and bamboos, and similar designs. 
 
 Signed Homin, with kakihan. 
 
 Lent by Mr. Willoughby J. G. Loudon. 
 
83 Case XIV. 
 
 27 JO-KOGO. Small box, in two tiers. Kin-nashiji ground, decorated with autumn 
 
 flowers in kin-makiye, grey silver and red lacquer. The chrysanthemum, 
 
 platycodon, patrinia, smilax, &c. 
 
 Lent by Mr. Stuart Samuel. 
 
 28 MiNATURE Table for Offerings (Sambo). Upon it, resting on fern leaves, 
 
 (Polypodium dichotomum) are two cakes of gelatinous rice (mochi) and a 
 prawn (Palinurus) which are eaten at the New Year. The ground is 
 kinji, the rice cakes of silver lacquer, and the prawn in red, in relief. Other 
 parts of the table and stand in nashiji. Attributed by the owner to Jokasai. 
 i8th century. 
 
 Le7it by Mr. A. W. Franks. 
 
 20 Ko-BAKO. Small box in the form of a chrysanthemum flower in relief; 
 
 kin-makiye and gyobu. Attributed by the owner to one of the Kajikawa 
 
 family. 
 
 Lent by Mr. A. W. Franks. 
 
 30 KOGO. Small perfume box with tray, below which are two smaller boxes. 
 
 Box. Kin-makiye in low relief. Plum flowers, in two tints of gold, on 
 
 a gold poudr^ ground. 
 
 Tray. Taka-makiye and gy5bu. An iris pond. Border, gyobu in 
 
 imitation of fish skin. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 31 Ko-BAKO. Small box in the form of a horizontal lyre (koto), containing three 
 
 small incense boxes (k5g6). The middle parts of the cover are of mokume 
 lacquer, the remainder of gold poudr^. Decoration in imitation of the 
 ordinary koto. Sides and parts of the cover in coarse nashiji resembling 
 gyobu. The small kogo inside are decorated in gold and dark lacquer on 
 kinji. The pawlownia, chrj'santhemum and cherry flowers, birds and leaves. 
 
 Lent by Sir Trevor Lawrence, 
 
 32 Ko-BAKO. Small box in the form of an armour case (yoroi-bitsu). Nashiji 
 
 with flowers of the Astragalus lotoides (geng^-bana), in green, brown and 
 
 gold lacquer on a raised ground of red and black lacquer. Attributed by 
 
 the owner to Yosei. 1 7th century. 
 
 Lent by Mr. A. W. Franks. 
 
 33 KoRO. Incense burner with box for incense in the form of a perfume vaporizer 
 
 (choji-buro). Nashiji decorated with the phoenix (hoo), arabesques, and ships 
 sailing along a pine-clad shore, in gold lacquer and gyobu. i6th century. 
 
 Lent by Mr. G. Salting. 
 
Case XIV. 84 
 
 34 Ko-BAKO. Small four-lobed box. Medallions in makiye on a chequer ground 
 
 of black and gold. Decorated with peonies, pinks, chrysanthemums, irises 
 
 and other flowers, butterflies, cranes and other birds. Edges of box 
 
 mounted with silver rims (okiguchi). 
 
 Lent by Mr. E. Gilbertson. 
 
 35 JtJ-KOGO. Small box in three tiers used in the Perfume Game. Kin-makiye, 
 
 with cherry flowers in silver foil (hiyomon), maple leaves in two tints of 
 
 gold, and diapers. 
 
 Lent by Colonel Goff. 
 
 36 Ju-KOGO. Small perfume box in two tiers. Togidashi. Decoration lespedeza 
 
 and eulalia grass (susuki) on a black and gold poudr^ ground. 
 
 Lent by Mr. Stuart Samuel. 
 
 37 Ko-BAKO. Small four lobed box. Polished black lacquer sprinkled with gold, 
 
 with maple leaves in togidashi and makiye. Medallions of various forms 
 
 with landscape, birds and flowers, in kin-makiye. Signed H5min, with 
 
 kakHian. 
 
 Lent by Mr. Willoughby J. G. Loudon. 
 
 88 Ko-BAKO. Small box. Kin-makiye and taka-makiye, togidashi, gydbu and kinji. 
 On the top of the cover a hanging ball of flowers (kusu-dama). A hanging 
 picture (kakemono) with the New Year decoration of fern (Polypodium 
 dichotomum), leaves, wisps of straw and leaves of the Melia japonica(yuzuriha) 
 and a fan with the flowering cherry (sakura). Sides decorated with a 
 choshi, tosan, flower vase, chrysanthemums, tanjaku and shikishi sheets for 
 poems, and chrysanthemum leaves. 
 
 Lent by Mr. Willoughby J. G. Loudon. 
 
 39 Ko-BAKO. Small box with cover, in the form of bivalve shells. Gold lacquer 
 
 on gold ground. A bird perched on a magnolia tree — in gold and red lacquer 
 — on the banks of a stream. The stream in togidashi. 
 
 Lent by Mr. E. W. Hennell. 
 
 40 KOGO, small perfume box, Cover, floral diapers in red, brown and gold lacquer, 
 
 with cherry flowers, and a bag used for perfume (taga-sode) in the form of a 
 
 lady's sleeve, in kin-makiye. Around the sides of the box are plum flowers, 
 
 in kin-makiye on kinji. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 41 Ko-BAKO, small box. Kinji, encrusted (hiydmon) with thin plates of gold in the 
 
 form of a badge or conventional flower. 
 
 Lent by Colonel Goff. 
 
85 
 
 Case XV. 
 Chiefly large pieces of 18th Century Lacquep. 
 
 1 Sag£-ju. Picnic box. Nashiji lacquer. Decoration, gold lacquer in low 
 
 relief, silver lacquer, with a little colour. Two sake bottles of pewter. Nine 
 
 subjects from the "Twenty-four Tales of Filial Piety" (Nijushi-ko). 
 
 1 8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
 2 JlKIRO. Nest of boxes, for food and sak^, in the shape of a large bottle-gourd 
 
 (hyotan). Natural wood covered with transparent lacquer, carved in fine 
 string-like courses. Decoration, gold lacquer in low relief ; the flower and 
 leaves of the bottle-gourd. Lacquered inside with fine nashiji. i8th century. 
 
 Lent by Mr. W. G. Rawlinson. 
 
 3 Box, with rounded edges. Made of plaited bamboo, covered with transparent 
 
 lacquer. The outside partly covered with gold and silver lacquer in low 
 relief. Cherry trees in blossom, the flowers of gold of two shades. Inside 
 wholly lacquered, bamboos of gold lacquer of various shades in low relief on 
 nashiji. Silk cord attached to silver mounts in form of battledore and 
 shuttlecock. Late i8th century. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 4 Sag£-jO. Picnic box. Nashiji, decorated with Chinese and Japanese fans 
 
 (uchiwa), with silk tassels ; gold lacquer in low relief The design of each 
 fan is different, and consists chiefly of flowers, birds and other animals 
 expressed in every variety of lacquer. The sak^ bottles are made of silver. 
 Attributed by owner to one of the KOMA family. iSth century. 
 
 Lent by Mr. Stuart Samuel. 
 
 5 JtJ-BAKO. Square box in two tiers, with lid. Black and gold lacquer of various 
 
 shades in low relief. The sides and lid divided by a diagonal line into two 
 fields. On the one side pine branches on nashiji, on the other chess-board 
 division of gold and black, the black squares filled with a badge-like design. 
 One tier is probably missing. Early i8th century. 
 
 Lent by Mr. T. W. Cutler. 
 
 6 Oblong Box, with rounded sides. Black, unpolished ground, covered both 
 
 inside and out with gyobu in flakes. Outside plain. Inside decorated with 
 incrustation of various metals in low and high relief; maple leaves 
 floating down stream ; disc of full moon above. Early i8th century. 
 
 Lent by Mr. G. Salting. 
 
Case XV. 86 
 
 7 Ryoshi-BUNKO. Manuscript box. Nashiji, with decoration of gold lacquer in 
 
 two shades, and silver lacquer, gyobu inlay of gold and silver, in mosaic of 
 squares and small rods. On the lid, in the foreground, a small shinto shrine, 
 divided by swift river from a village of rude cottages ; above this rises a 
 mountain side covered with cherry trees in blossom and other fruit trees, 
 from behind which appear the roofs of the buildings of a Buddhist temple. 
 Similar landscapes round the sides. Inside, plain nashiji. i8th century. 
 
 Lent by Mr. J. Gurney. 
 
 8 Oblong Box, with copper gilt rings for silk cord. Black ground, richly 
 
 decorated with gold painted lacquer, gold and silver foil and mother-of- 
 pearl. The Tokugavva badge of three hollyhock leaves in centre, scattered 
 plum blossom conventionalised and feather-like leaves. i8th century. 
 
 Lent by Mr. R. Phene Spiers. 
 
 9 Square Cabinet, with Draw^ers. Richly mounted with silver. Reddish 
 
 natural wood (keyaki }) lacquer varnished. Decoration, gold lacquer of various 
 shades, silver lacquer and gold foil. Flowering sprays of the lespedeza plant. 
 5^^^^ (inside) KOMA Yasutada. About i8oo. 
 
 Lent by Mr. M. Tomktnson. 
 
 10 Sag£-JU. Picnic box. Nashiji lacquer decorated with gold lacquer of various 
 
 shades in high and low relief. The sake vessel, of octagonal shape, is also 
 
 of nashiji lacquer, with a decoration of Chinese mountain landscape ; this 
 
 appears to be of a greater age than the rest, resembling 17th century 
 
 lacquer. The nest of boxes, the frame and the trays, decorated with flowers, 
 
 insects, shells, and various Chinese figure subjects and landscapes. Early 
 
 1 8th century. 
 
 Lent by Mr. E. W. Hennell. 
 
 11 Ryoshi-BUNKO. Manuscript box, with tray. On the lid, the ground is 
 
 completely covered with gyobu mosaic, of gold and silver tesserae, the 
 
 gold of varying shades between yellow and deep red, the silver now nearly 
 
 black. Decoration, in gold lacquer in low relief of various shades, with a 
 
 little silver lacquer : a mountain stream flowing between low rocks, which 
 
 are covered with bushes of Kerria (yamabuki). The same design carried 
 
 round the sides. The quadrant edging has a lacquer ground, imitating 
 
 shibuichi, with floral decoration in gold lacquer. Inside of box of plain nashiji. 
 
 Attributed to one of the Kajikawa family. (Compare signed inro. Case XII., 
 
 No. 8). Early i8th century. 
 
 Lent by Mr. G. Salting. 
 
8; Case XV. 
 
 12 SUZURI-BAKO. Writing box. Similar material and decoration to No. ii,to 
 which it forms the companion. 
 
 Lent by Mr. Stuart Samuel. 
 
 18 SUZURI-BAKO. Polished black lacquer ground. Decoration, of gold lacquer in 
 low relief, and silver foil ; a grove of flowering cherry trees and pines. 
 
 1 8th century. 
 
 Lent by Mr. M. Tomkinson. 
 
 14 Ryoshi-BUNKO. Manuscript box. Nashiji with clouds in low relief of polished 
 
 dead gold lacquer inlaid with gyobu mosaic, the tesserae of various forms. 
 
 Decoration, in low relief, gold and coloured lacquer and gold foil. On the 
 
 lid and sides are subjects from the Genji Monogatari treated in the style 
 
 known as Yamato-ye. Attributed to one of the Kajikawa family. Early 
 
 1 8th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 15 SUZURI-BAKO. Writing box. Similar material and decoration to No. 14, of 
 
 which it is the companion. Interior, with mizu-ire in the shape of the badge 
 of the Nabeshima family, the Daimyo of Saga : decoration of autumn 
 flowers and clouds in the style known as Yamato-ye. 
 
 Letit by Mr. Stuart Samuel. 
 
 16 Ryoshi-BUNKO. Manuscript box. Aventurine ground (nashiji). Decorated 
 
 with gold lacquer of various tints in low and high relief, gold and silver 
 gyobu mosaic, and coral and metal incrustation. A river between rocky 
 banks on which are growing pine and orange trees, conventionally treated ; 
 waterfowl of gold and shakudo incrustation. On the tray, a sea landscape 
 with salt works. Attributed to one of the Kajikawa. Early i8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
 17 Ko-DANSU. Cabinet with three drawers. One of these drawers contains a set 
 
 of twelve cylindrical boxes and an oblong box, for holding incense. Gold 
 lacquer of various shades in low relief, inlaid with fine gyobu mosaic, and foil 
 of gold and silver. The top and front form one continuous design. A 
 mountain torrent, with cherry trees in full blossom. i8th century. 
 
 Lent by Mr. M. Tomkinson. 
 
 18 Ryoshi-BUNKO. Manuscript box. Gyobu ground, in small closely packed 
 
 flakes. Decoration, of gold lacquer in low relief, with gyobu mosaic and 
 gold foil ; wild cherry (yama-zakura) growing by a winding stream. 
 Attributed to one of the Kajikawa family. i8th century. 
 
 Lent by Mr. G. Salting. 
 
Case XV. 88 
 
 19 SUZURI-BAKO. Writing box. Nashiji. Decoration, gold lacquer in low relief 
 
 of various shades, and lacquer of other metallic shades, with gyobu mosaic, 
 gyobu in flakes, and gold foil. The stormy lake represented by togidashi of 
 metallic tints. The eight views of Lake Biwa (6mi Hakkei). Mizu-ire of 
 copper inlaid with gold. Early i8th century. 
 
 Lent by Mr. W. Gowland. 
 
 20 Ko-DAi. Stand with lid, containing three boxes for holding incense. The lid 
 
 in form of a rock, covered with seaweed and washed by the waves; dark 
 nashiji, with gold lacquer in low relief. Inside, on the stand, are three small 
 boxes, plain gold lacquer ground, with decoration in gold lacquer of various 
 shades and red ; conventional sea, scattered over with a great variety of 
 sea-shells, sea-urchins, &c. Late i8th century. 
 
 Lent by Mr. A. W. Franks. 
 
 21 Ryoshi-BUNKO. Manuscript box. On the lid, a large medallion, surrounded 
 
 by a beading of pewter, upon a ground of gyobu of irregular mosaic. The 
 
 quadrant edge of lacquer to imitate gold inlay on iron. The large picture, of 
 
 gold lacquer in various shades, low and high relief, with gyobu mosaic, 
 
 represents the long bridge at Seta (Seta no naga-hashi), a post town of the 
 
 Tokaido, on the shore of Lake Biwa. In middle distance, the castle of Zeze, 
 
 and the pine-tree of Karasaki, with Mii-dera on the hills behind and Ishiyama 
 
 introduced in the near foreground. To contrast with this famous Japanese 
 
 landscape (a version of the Omi Hakkei), on the sides of the box, in 
 
 similar medallions, are famous Chinese landscapes, and views of a Chinese 
 
 lake (Shojo Hakkei). Early i8th century. 
 
 Lent by Mr. M. Tomkinson. 
 
 22 JlKlRO. Large spherical nest of trays, for holding food. The ground of each 
 
 tier of different colours — black, dark green, red, yellowish brown, and a dark 
 grained nashiji. Inside, with irregular gyobu flakes. Decoration, gold 
 lacquer of various shades in low and high relief: a branch of the weeping 
 cherry (shidar^-zakura) forms the handle of the top tier, and the flowering 
 sprays fall down around. 
 
 Lent by Sir Trevor Lawrence. 
 
 23 Small Square Box. Nashiji. Decoration, gold lacquer in relief and intaglio; 
 
 three shells elaborately decorated (from the Shell Game), and maple leaves 
 scattered over the ground. 
 
 Lent by Sir Trevor Lawrence. 
 
 24 Small Box. Of shaped wood. Black lacquer ground, poudre in parts with 
 
 gold. Decoration, in low relief, of gold and silver lacquer and gold foil : 
 
 peony flower and leaves. iSth century. 
 
 Lent by Mr. W. Gowland. 
 
89 Case XV. 
 
 25 Small Box. The lid shaped like a shell. Nashiji. Decorated with scattered 
 chrysanthemum flowers, of gold lacquer of various shades, in low relief 
 1 8th century. 
 
 Lent by Mr. IV. Gowland. 
 
 2,Q SUZURI-BAKO. Writing box. Polished black lacquer ground. Decoration, in 
 low relief, of gold lacquer of various shades, with a little coloured lacquer : 
 cranes by the waterside, and pine trees : above, the sun, half covered by 
 clouds, in togidashi, with varying reflections. i8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
 27 SUZURI-BAKO. Small writing box. Polished black lacquer ground. Decoration, 
 
 gold and coloured lacquer, in low relief: saddled horse and bamboos. 
 
 Lent by Mr. G. Salting. 
 
 28 Ryoshi-BUNKO. Manuscript box. Black polished lacquer ground, poudre in 
 
 places. Decoration, togidashi of gold, of various shades, with scattered 
 
 gyobu mosaic : rocky mountain landscape, in the foreground, the gate and 
 
 tile-covered wall of a Buddhist temple, of which the roofs appear above the 
 
 cryptomeria, pine and flowering cherry trees in the middle distance. 
 
 1 8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
 29 Ryoshi-BUNKO. Manuscript box, with tray. Ground of clouded nashiji. 
 
 Decoration, gold lacquer, in low relief, to represent seaweed, amid which are 
 
 swimming fish, in high relief, of mother-of-pearl, red lacquer and other 
 
 materials. On the sides, a crab, a cuttlefish and scattered shells. Variously 
 
 ascribed to School of Yosei, and to Hanzan. 
 
 Lent by Mr. Stuart Samuel.. 
 
 30 SUZURI-BAKO. Writing box. The margins of pewter (okiguchi). Inside of 
 
 lid, nashiji passing gradually into plain gold, and again into gyobu 
 
 mosaic. Decoration, gold lacquer in relief, rocks of gyobu mosaic, with 
 
 pines and flowering cherry-trees overhanging a waterfall. Outside of lid, 
 
 similar material, with silver gyobu mosaic. Within the box, a mizu-ire in 
 
 form of a " treasure boat " (takara-bune) ; holder of ink-cake (sumi- 
 
 hasami), knife and puncturing needle (kiri) of nashiji lacquer with silver 
 
 mounts. 1 8th century. 
 
 Lent by Mr. J. Gumey. 
 
 31 Ryoshi-BUNKO. Manuscript box. Polished black lacquer ground. Decora- 
 
 tion, a figure of a Chinese sage, in lacquer of various metallic colours ; 
 inside of lid, togidashi decoration, lotus and kingfisher. Signed (under lid) 
 Tatsuki uji Takahiro, with seal, i8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
Case XV. 90 
 
 32 Small Oblong Box. Decoration, diapers of gold lacquer in low relief, on 
 
 black ground, over which, in gold lacquer of greenish shade, plum blossom 
 and pine needles to imitate rapid brush work. About 1700. 
 
 Lent by Sir Trevor Lawrence. 
 
 33 SUZURI-BAKO. Writing box. Black lacquer ground. Decoration, of dark 
 
 coloured lacquer in high relief, consisting of: — i. An ink-stone, inscribed 
 
 " Koro-kwan " — residence of the Chinese and Korean embassies ; a copy, 
 
 probably, of a celebrated object. 2. A penholder, inscribed " Muchuan " — 
 
 a studio name of Ritsuo. 3. An old circular slab of Chinese ink, with 
 
 signature of Ritsuo, sea/ Kwan, and cfate nth year of Kyoho (1726). By 
 
 Ritsuo. 
 
 Lent by Mr. M. Tomkinson. 
 
 84 Oblong Box. Nashiji. Decoration, gold lacquer in low relief, gold foil and 
 silver lacquer ; key pattern on quadrant edges : chrysanthemums, pinks and 
 other flowers. Attributed to one of the Kajikawa family. 
 
 Lent by Mr. A. W. Franks. 
 
 35 Ryoshi-BUNKO. Manuscript box. Lid of polished black lacquer, almost com- 
 pletely covered by a decoration of clouds and cherry blossom. Clouds in 
 relief of fine nashiji sprinkled with irregular grains of gyobu : trunk of 
 cherry, gold lacquer covered with pale gold gyobu mosaic : the flowers of 
 mother-of-pearl incrustation. Sides of box of clouded nashiji. The inside a 
 plain ground poudre with metallic grains of various metals. The corners 
 repaired with silver. i8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
 36 Fu-BAKO. Oblong box for a letter. Nashiji, with decoration of lacquer in low 
 relief and togidashi, gold lacquer of various shades and silver lacquer : 
 Chinese and Japanese fans (uchiwa) with silk tassels. i8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
 37 JO-BAKO. Nest of boxes for food. Polished brownish black lacquer, decorated 
 with mother-of-pearl inlay, gold lacquer painted over the ground (hira-makiye) 
 and nashiji. Boatmen, punting boats laden with brushwood up stream. 
 Attributed to Soyetsu. 
 
 Lent by Sir Trevor Lawrence. 
 
9' Case XV. 
 
 38 Small Box, in the shape of the folded paper (noshi), which accompanies presents. 
 
 Gold lacquer, of various shades, and gyobu in flakes. The top to represent 
 
 a richly decorated sheet of noshi, tied with paper cord (mizuhiki). Inside, 
 
 silver nashiji. Late i8th century. 
 
 Len/ by Sir Trevor Lawrence. 
 
 39 Sho-DANA. Cabinet, with shelves, cupboard and drawers, with silver mountings. 
 
 Brownish black lacquer ground, with gold lacquer decoration in low relief, 
 
 and gyobu mosaic. Pine trees growing on sandy and rocky seashore. 
 
 Interior, plain nashiji. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 40 Small Box, from the set for Perfume Game. Togidashi lacquer, red and gold. 
 
 maple leaves on black ground. i8th century, in the style of KOMA Kiuhaku. 
 
 Lent by the Hon. W. F. B. Massey-Mainwaring. 
 
 41 Oblong Box, WITH Tray. Polished black lacquer ground. Decoration, gold, 
 
 silver, and red lacquer in low relief; scattered plum blossom. Attributed 
 
 to one of the KOMA family. 
 
 Lent by Mr. G. Salting. 
 
 42 Small Box in the shape of a Lute (biwa). Carved wood covered with 
 
 black and dark red lacquer. Inside, nashiji, with floral decoration. Attributed 
 
 to Jokasai. i8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
 43 Small Tray. Nashiji. Decoration, gold and brownish lacquer in low relief. 
 
 Two of the red-haired sakd drinkers (Shojo^ in a landscape of Chinese 
 
 school. Late 17th century. 
 
 Lent by Mr. R. Pheni Spiers. 
 
 44 Te-BAKO. Lit : — " handy box." Pewter margins (okiguchi). Polished black 
 
 lacquer, with decoration of gold in various shades in low relief and gold 
 foil : autumn flowers and grasses. Attributed to Yoyusai. 18th century. 
 
 Lent by Mr. A. W. Franks. 
 
 45 SUZURI-BAKO. Writing box. Nashiji, with decoration in gold lacquer of various 
 
 shades in low relief, and gyobu mosaic : chrysanthemums. 1 8th century. 
 
 Lent by Mr. J. Gumey. 
 
Case XV. 92 
 
 46 Hexagonal Openwork Frame, on stand ; of two tiers, each containing three 
 
 small hexagonal boxes, probably for holding incense. Dull gold ground, 
 with decoration in low relief of gold lacquer, gyobu mosaic and gold foil : 
 the cherry trees of Yoshino. Attributed to one of the Kajikawa family. 
 Early i8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
 47 SAGfi-JU. Picnic box. The frame of red, green and yellow lacquer in low relief 
 
 upon a lacquer base resembling coarse canvas : Chinese bird and flowers on 
 the top, plum blossom at the sides. The nest of boxes of tsuishu, diapered 
 ground, surrounding medallion of mottled lacquer, with engraved pattern, 
 resembling Tsugaru lacquer. The sakd-bottle, dark red in relief upon a red 
 " frott^ " ground showing the black base (suri-hagashi). (Compare the box 
 and bottle, Nos. 21 and 23 in Case XVIII.) Probably i8th century. 
 
 Lent by Mr. Frank Dillon. 
 
 48 SUZURI-BAKO. Writing box. The margins of pewter (okiguchi). Nashiji, 
 
 decorated in low and high relief, with coloured lacquers and silver foil : a flute 
 with the inscription " gaku-sei " (musical sound), and two objects, attached 
 by a cord, possibly for cleaning the flute. Interior, nashiji, with decoration of 
 lespedeza flower. Mizu-ire of sentoku ; maple leaves. i8th century. 
 
 Letit by Mr. G. Salting. 
 
 40 SUZURI-BAKO. Writing box. Nashiji, with decoration of dull gold lacquer in 
 low relief. On lid, badges of the Tokugawa family (mitsu-aoi), together with 
 a compound kiku badge and floral scrolls. The handle for holding the sumi^ 
 of gold lacquer with silver mounting : the silver mizu-ire decorated in 
 high relief with crane and reeds. iSth century. 
 
 Lent by Mr. E. W. Hmnell. 
 
 50 Sag6-JO. Picnic box. Brownish black lacquer, with decoration of gold 
 
 togidashi : plum blossom, bamboo and sparrows. On side of frame, seal 
 
 Shiomi Masanari. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 51 SUZURI-BAKO. A nest of five writing boxes. Black lacquer ground, decorated 
 
 in low relief, with gold lacquer of various shades, and gold foil ; costumes, 
 musical instruments, and other objects used in the No dance. Ink 
 stones. Signed Nakamura Iwami. Mizu-ire, in shape of double drum 
 (tsuzumi), silver, shakudo and copper. Attributed to one of the Kajikawa. 
 18th century. 
 
 Lent by Mr. Stuart .Samuel. 
 
93 
 
 Case XVI. 
 Chiefly Lacquep of the late 18th century and of the 19th century. 
 
 1 RyoSHI-BUNKO. Manuscript box, with tray. Black lacquer ground, inlaid with 
 
 mother-of-pearl, of brilliant colours (from the haliotus or trochus) heightened 
 in places with red lacquer. On the lid, a cock and hen. On margin of lid 
 and sides of box, diapers and flowers. Inside, plain nashiji. 
 
 Lent by Sir Trevor Lawrence. 
 
 2 Square Box, with sliding drawers. Dark red wood, covered with transparent 
 
 lacquer in place of varnish. Decoration, gold lacquer in various shades, 
 and dark-coloured lacquer, in low relief poudr^ : a liliaceous flower. 
 
 Lent by Colonel Goff. 
 
 3 Square Tray. Polished black lacquer. The rim lined with outer surface of 
 
 bamboo stem, flattened. Decoration, mother-of-pearl inlay, and lacquer in 
 
 low and high relief: brinjalls, and long pods of a bean (azuki). School 
 
 of Ritsuo. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 4 Te-BAKO. " Handy-box," with tray. Mounts with the Tokugawa badge. 
 
 Ground of gold lacquer to represent water, on which float boats containing 
 
 flowers and brushwood, in gold lacquer and gold and silver foil. Inside, 
 
 plain nashiji. Early i8th century. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 5 Ko-DANSU. Oblong cabinet, nashiji. Decoration, in togidashi, with gold, black 
 
 and red lacquer : cards, with songs (uta) and picture in the Yamato style of 
 the thirty-six poets (Sanjurok-kasen). Mountings of copper-gilt. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 6 Sliding door from a Cabinet. Black poudr6 ground, with decoration of 
 
 gold lacquer of various shades, and silver lacquer in low relief: planting 
 out the young rice. Signed Ipposai, with seal. i8th century. 
 
 I^nt by Mr. R. Phene Spiers. 
 
 7 Fu-BAKO. Letter box. Polished black lacquer ground. Decoration, gold of 
 
 various shades in low relief: fan, gold lacquer shading into silver, and 
 
 gourd flowers. 
 
 Lent by Mr. F. Yeats Edwards. 
 
Case X VI. 94 
 
 8 Te-BAKO. Square box, probably for needlework. Wood, lined with silk. The 
 
 decoration, chiefly painted and gilt, partly in relief of shell-cement (gofun), 
 with a little lacquer. Cards, painted shells, and counters, used in various 
 games. The hinges of red silk. On the side, Signed Muchu-an Ritsuo. 
 1 8th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 9 Box, with Tray. Wood carved as an open trellis work and lacquered : 
 
 ground finely poudr^ with gold ; the Paulownia badge (kiri) on trellis and tray. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 10 Oblong Box, with Tray, containing two smaller boxes in tiers, and box for 
 
 ashes (takigara-ire), forming part of a set for incense burning. Fine nashiji. 
 
 Decoration, in low relief of gold lacquer in various shades and silver lacquer. 
 
 On the lid, the Tokugawa badge. Landscapes and flowering plum. Signed 
 
 Harui. Seal Kxyoshx. 1 8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
 11 Tanzaku-BAKO. Box to hold long slips of paper for writing poems. Black 
 
 ground poudr^, decorated with dark green and gold lacquer. Twigs of pine 
 
 and cherry blossoms. 
 
 Lent by Sir Trevor Lawrence. 
 
 12 SUZURI-BAKO. Writing box. Black, red and gold lacquer in low and high 
 
 relief. Fantastic landscape, of Chinese school. A Chinese lion (Kara-shishi) 
 sporting in the waves, under a cascade falling from overhanging rocks. The 
 water is expressed by fine curved lines of dark lacquer (probably made with 
 a comb) and the evening sky by similar dark red horizontal lines. 
 
 I^ent by Sir Trevor Lawrence. 
 
 13 TOSAN. Stand for cup. Black lacquer, decorated with diapers of gold lacquer 
 
 in low relief, with the badge (sparrows and bamboo) of the Uyesugi family 
 
 of Daimyos. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 14 BUNKO. Manuscript box. Natural wood, probably keyaki (Planera japonica). 
 
 Pewter margin (okiguchi). Decoration, gold lacquer in low relief and pewter: 
 shoots of young fern. Signed Sessan, in seal characters. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 15 Tray. Made out of a large tree-fungus. Polished black lacquer. Decoration, 
 
 roughly painted with coloured lacquer : Fukurokuju and stag. Signed Tessai, 
 
 with seal. 
 
 Lent by Mr. M. Tomkinson. 
 
95 Case XVI. 
 
 16 Square Box, with Tray. Tsuishu and tsuikoku lacquer, carved in high 
 
 relief. Red diaper ground overlaid with black lacquer, over this again with 
 
 red. Incru.station of gold and silver butterflies, Chinese pheasant and 
 
 chrysanthemum flowers. The tray of gold lacquer of various shades. 
 
 19th century. 
 
 Lent by Mr. M. Tomkinson. 
 
 17 Circular Tray OF PLAITED bamboo. Decoration, polished lacquer, applique, 
 
 of various colours, a man with performing monkey and two musicians in a 
 
 boat among reeds. Inscribed on the back, " Made by Sairo, after the drawing 
 
 of Hanabusa Itch5." Modern. 
 
 Lent by Mr. Wm. C. Alexatider. 
 
 18 Oblong Box, with Tray. Black lacquer, decorated with gold togidashi ; 
 
 bundles of brushwood and cherry blossom. Style of Shunsho. 
 
 Lent by Mr. G. Salting. 
 
 19 Square Box, with Tray. Decoration, gold lacquer of various shades in low 
 
 relief and togidashi. The lid and rim covered with crowded chrysanthemum 
 flowers. The tray similarly decorated with maple leaves. 
 
 Lent by Mr. H. Virtue Tebbs. 
 
 20 SUZURI-BAKO. Large writing box. The lid of polished black lacquer, shading 
 
 off into gold. Decoration, in low relief of gold and green lacquer ; a river 
 
 winding among reedy banks ; above, the full moon of silver. Inside nashiji. 
 
 The mizu-ire of shakudo, inlaid with gold, in the form of a shell ; by the 
 
 side a small silver box (in-niku-ire) in the form of a sea-urchin for holding 
 
 the pad for seal. 
 
 Lent by Mr. M. Tomkinson. 
 
 21 SUZURI-BAKO. Small writing box. Silver mountings and margins (okiguchi). 
 
 The lid has the ground richly covered with gold flakes of various size 
 (gyobu). In the centre, a medallion, gold lacquer in relief, Kwan-on seated 
 by a waterfall (the nimbus of .shaded gold in togidashi). Inside, gold lacquer 
 in relief on togidashi ground ; a lotus pool. The mizu-ire of silver, in the 
 form of a lotus leaf, on which is a frog and an insect. 
 
 Lent by Mr. M. Tomkinson. 
 
 22 SUZURI-BAKO. Writing box on tray, with paper-box below. Polished black 
 
 lacquer ground, poudre in places. Decoration, gold lacquer of various shades 
 in relief, with a little red lacquer ; monkeys playing on pine tree. Underside 
 of lid and tray of gold, red and brown togidashi lacquer. Signed S^vi^w with 
 seal. 19th century. 
 
 Lent by Mr. M, Tomkinson. 
 
Case XVI. 96 
 
 23 SUZUKI-BAKO. Writing box. Brownish-black ground. Decoration, togidashi 
 
 lacquer of various colours (without gold); a bouquet of flowers in an old 
 Chinese bronze vase. 
 
 Lent by Mr. M. Tomkhison. 
 
 24 Ko-BAKO. Small square box for incense. Lid of black lacquer in relief 
 
 upon a togidashi ground of various metallic tints ; verandah (engawa) of 
 Japanese house ; in front of the paper window (shoji) where hangs a wind 
 rattle (furin), a black cat is stretching itself Tray, black and gold lacquer 
 in low relief upon a polychrome togidashi ground of diapers, on which lie 
 a book and a pair of spectacles. Below the tray are four square boxes in the 
 shape of books, with fine polychrome diapers in togidashi. Attributed to the 
 school of KOMA. 
 
 Lent by Mr. Stuart Samuel. 
 
 25 Sak£ Bottle, in the form of a bottle-gourd (hyotan) mounted with silver. 
 
 Polished black lacquer. Decoration, of gold togidashi with a little colour ; 
 Chinese boys playing with fans. School of Shunsho. i8th century. 
 
 Lent by Mr. F. Yeats Edwards. 
 
 26 Ko-DANSU. Small cabinet with three drawers. Black lacquer ground, poudre 
 
 in places. Decoration, gold lacquer in low relief, and togidashi of gold of 
 various shades ; rural landscape with fishing scenes and cloth-bleaching ; 
 on inner side of the door, a boy catching bats. Early i8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
 27 Square Box. Nashiji. Decoration, of gold, silver and red lacquer in low 
 
 relief, with gold foil: sprays of a bramble-like plant (or perhaps straw- 
 berry) with red fruit. The paulownia badge (Go-san no kiri) on the lid. 
 
 Lent by Mr. Wtn. C. Alexander. 
 
 28 A Pair of Sak£ Bottles, with silver mountings. Polished black lacquer 
 
 with decoration of gold togidashi, heightened with gold mosaic (gyobu). 
 
 Lent by Mr. M. Tomkinson. 
 
 29 Lozenge-shaped Box. In two tiers with lid. Ground finely poudre with 
 
 gold of various shades, passing into plain gold with mosaic (gyobu). 
 Decoration, gold lacquer in relief, with incrustation of gold and silver; 
 cherry blossom and long-tailed Chinese birds. i8th century. 
 
 Lent by Mr. G. Salting. 
 
97 Case XVI. 
 
 30 Oblong Tray. Polished black lacquer with decoration of gold and red togidashi 
 
 lacquer, a monkey holding a branch. The design apparently taken from 
 
 Sosen. Seal oi Shiomi Masanari. 
 
 Lent by Mr. M. Tomkiiison. 
 
 81 SUZURI-BAKO. Writing box. Margins (okiguchi) of pewter. Brownish black 
 lacquer ground. Decoration, gold togidashi, with dark metallic lacquer 
 in low relief; wild geese and reeds. i8th century. 
 
 Lent by Mr. R. Phen^ Spiers. 
 
 32 Fu-BAKO. Despatch box. Black lacquer ground. Decoration, togidashi lacquer 
 in gold of various shades and red ; strips of ornamental paper for writing 
 poems (tanzaku). This box is said to have fallen overboard in the Hudson 
 River, and to have been recovered after several weeks' immersion — an 
 instance of durability of good lacquer. i8th century. 
 
 Lent by Mr. Marcus B. Huish. 
 
 88 Ryoshi-BUNKO. Manuscript box, with tray. Dark-red wood, carved in high 
 
 relief, incrusted with ivory and mother-of-pearl. Decoration, in imitation of 
 
 Chinese work, the Chinese warriors, Riubi, Kwan-u and Chohi, swearing 
 
 brotherhood in the peach orchard. (Riubi became emperor after the fall of 
 
 the Later Han dynasty in the 3rd century, A.D.) Background imitating 
 
 plaited bamboo. Round the sides, sundry Buddhist emblems, the staff, 
 
 fly-wisp, wooden gong, &c. On underside of lid, the Tokugawa badge. 
 
 On the tray, in slight relief, a dragon in gold and red lacquer. Inside 
 
 the box, a poem in the Chinese style in praise of tea and wine, with a 
 
 Japanese ^ilafe corresponding to 1884. 
 
 Lent by Mr. H. S. Troiver. 
 
 34 Square Box, in two tiers. Polished black lacquer ground, decorated with 
 
 gold lacquer of two shades, and silver lacquer in low relief; chrysanthemum 
 flowers with conventionalised leaves. Inside lid, a large many-petaled 
 chrysanthemum flower displayed on nashiji. i8th century. 
 
 Lent by Mr. IVm. C. Alexander. 
 
 35 Small Oblong Box. Fine nashiji, decorated with gold lacquer in low relief, 
 
 round hills, cherry blossom and full moon (of silver) ; inside, wheel with 
 
 buckets for raising water. i8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
 36 Tabako-BON. Smoking box, with brazier, incense bowl, box for ashes, and 
 
 handle, of brass gilt and chased. The pipe, dusting feather and fire-sticks 
 (hi-bashi) displayed. Nashiji, with decorations of gold lacquer in relief, 
 togidashi gold mosaic (gyobu) and mother-of-pearl. Wistaria (fuji) in a 
 trellis over a stream. Lent by Mr. W. Gozvland. 
 
Case XVI . 98 
 
 37 Small box of shaped wood. Lacquered. The lid in the form of a flower 
 
 basket. Gold lacquer in low relief of various shades. The flowers of white 
 
 enamel-like lacquer in low relief, tinted with red ; peony, plum and 
 
 narcissus, on a ground of gyobu in flakes. On the sides, flowers of similar 
 
 lacquer, floating on a river represented by gold togidashi of various metallic 
 
 shades. Attributed to Jokasai. 
 
 Lent by Mr. G. Salting. 
 
 38 Square box. Togidashi lacquer, of various metallic shades, to represent water, 
 
 on which float two mandarin ducks and scattered cherry blossom, in white 
 
 and coloured lacquer in low relief (similar to No. 37). Attributed to 
 
 Tamura Takahiro. 19th century. 
 
 Lent by Mr. M. Tomkinson. 
 
 39 HiBACHl. A gourd fitted with a brazier of copper, the lid of a trellis work of 
 
 copper with a branch of gourd on the top. The natural surface of the gourd 
 
 is decorated with gold lacquer in low relief, representing a trailing branch 
 
 of the gourd plant. 
 
 Lent by Mr. Win. C. Alexander. 
 
 40 Oblong box, with tray. Polished black lacquer ground. Decorated with 
 
 togidashi of gold of various tints and red, to represent charm-bags (or perhaps 
 scent-bags) of silk brocade, with tassels and various small articles attached. 
 
 Lent by Mr. G. Salting. 
 
 41 Fan-shaped Tray. Red polished lacquer ground, with black markings (to 
 
 imitate suri-hagashi). Margin of nashiji. Decoration, gold lacquer in low 
 
 relief; pomegranate and grasshopper. 
 
 Lent by Mr. R. Phene Spiers. 
 
 42 Oblong Box, with lid and drawer. Natural dark-red wood, covered with 
 
 transparent lacquer in place of varnish. Decoration, togidashi of gold 
 lacquer of various shades, and silver lacquer ; branches of bamboo, laden 
 with freshly fallen snow. Signed KwanshSsai (Toyo). 
 
 Lent by Mr. M. Tomkinson. 
 
 43 Jisshuko-BAKO. A square box in tiers, containing a full set of implements 
 
 for the Perfume Game. (These are displayed on the lower shelf of 
 
 Case XIV.) Polished black lacquer, with decoration of gold of two shades ; 
 
 hexagonal diapers, the paulownia flower, and the badge of the Hosokawa 
 
 family. 
 
 Lent by Sir Trevor Lawrence. 
 
99 Case XVI. 
 
 44 Oblong Box, with silver rings for fastening silk cord. Nashiji, with decoration 
 
 of gold lacquer of various shades, in low relief A howS bird hovering over 
 an old paulownia tree, with young flowering shoots. 1 8th century. 
 
 Lent by Colonel Gaff. 
 
 45 SUZURI-BAKO. Writing box. Polished black lacquer, with decoration in high 
 
 relief of pottery and dark lacquer; a sleeping cat (or tiger), a besom, and a roll 
 (makimono). On the roll, a Japanese date, corresponding to 1849. I" S^ld 
 lacquer, under lid, inscribed " Ken-ya and KwSzan, after a design by 
 Haritsu," (Haritsu being a form of the name Ritsuo). 
 
 Lent by Mr. M. Tomkinson. 
 
 46 .Shikishi-BAKO. Box for papers, in two tiers. Polished black lacquer. 
 
 Decoration, of gold togidashi and gold mosaic (gyobu); a grove of pine 
 
 trees by the sea-shore. 
 
 Lent by Mr. F. A . Satow. 
 
 47 KUSHI-DAI. Small cabinet, for combs and other small objects. Nashiji, 
 
 decorated in high and low relief, with gold and silver lacquer of various 
 shades, and gold foil ; on the top, two howo birds among paulownia flowers, 
 with a hinged lid over a small writing box. i8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
 48 A Nest of Writing-boxes (Suzuri-bako) in an open-work lacquered frame 
 
 tied by a silk tassel. The frame of gold lacquer of different shades in low 
 relief, with gold mosaic (gyobu); plum blossom, peonies and butterflies. The 
 nest of boxes, of polished black lacquer ground, decorated with togidashi of 
 -various shades of gold and red; butterflies of different species. 
 
 Lent by Sir Trevor Lawrence. 
 
 49 Square Cabinet, with drawers — probably for a doctor to hold his drugs in — richly 
 
 mounted with silver. On the top, a landscape with a Chinese figure subject in 
 gold and red togidashi on a poudr^ ground. The front and sides of lacquer 
 to imitate shibuichi with an inlay of shakudo ; at the same time imitating a 
 sumi-ye (Chinese-ink drawing) of the Kano school. 
 
 Lent by Mr. M. Tomkinson. 
 
 50 SUZURI-BUTA. Square tray. Polished black lacquer ground. Decoration, of 
 
 gold lacquer in low relief; flowering iris growing in shallow water, with 
 
 rough plank bridges. 
 
 Lent by Mr. G. Salting. 
 
Case XV I. loo 
 
 51 Square Box. Polished black lacquer ground. Decorated with gold and silver 
 
 lacquer (hira-makiye, i.e.: not in relief) ; leaves and flowers of wistaria. 
 
 1 8th century. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 52 SaG)£-JU. Small picnic box. Black lacquer ground, with decoration of 
 
 togidashi lacquer ; bamboos studded with silver to represent dew. The 
 sak(5-bottle of cloisonne enamel (shippo). 
 
 Lent by Mr. M. Tomktnson. 
 
 53 Tabako-BON. Smoking box for a lady, in the shape of two fans overlapping 
 
 The ground of lacquer, to imitate shibuichi, decorated with a small flowering 
 gourd plant, the leaves of gold lacquer in low relief, the flowers represented 
 by plaques of white shell. The lid of the brazier of pierced yellow bronze 
 (sentoku) in the shape of a bottle-gourd (hyotan). 
 
 Lent by Mr. Wm. C. Alexander. 
 
 54 Oblong Box. Polished black lacquer ground, with decoration of gold, silver, 
 
 green and red lacquer, in low relief; plum blossom and fronds of fern. 
 
 1 8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
 55 SUZURI-BAKO. Writing box. Polished black lacquer ground. Decoration, of 
 
 gold lacquer in low relief, with gold mosaic (gyobu) and togidashi lacquer 
 of gold and red ; gold fish in a flowing stream, fire-flies and bamboo ; 
 above, the crescent moon of silver inlay. i8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
 56 SakAZUKI. Three large sake cups, forming part of a set of five. Decoration, 
 
 57 of gold lacquer of various shades in low relief, on a red ground. 
 & Subject: Three out of the Five Festivals (go-sekku), viz.: — May 5th, 
 
 58 with flags (nobori) and iris flowers ; July 7th, with table for writing poems, 
 lespedeza, and other flowers ; September 9th, chrysanthemums by the sea 
 shore, and pine tree. Signed Shomosai Masamitsu. 
 
 Lent by Mr. R. Phen^ Spiers. 
 
 59 Cha-TAKU. Stand, with covered cup for tea. Nashiji. Decorated with gold in 
 
 low relief ; chrysanthemum and badge, i8th century. 
 
 Lent by Mr. Wm. C. Alexander. 
 
loi Case XVI. 
 
 60 JO-BAKO. Nest of square boxes for food. Nashiji ; with gold lacquer in low 
 
 relief, togidashi of various metallic tints and gold foil; fans (ogi), open 
 and folded, decorated with landscapes and flowers. An extra lid, used when 
 the boxes are made up in two sets, is also shown. i8th century. 
 
 Lent by Mr. W. Gowland. 
 
 61 SUZURI-BAKO. Circular writing box. The lid has a black lacquer ground, with 
 
 decoration of togidashi in red, black, gold, and various metallic shades; a 
 
 humorous representation of the six famous poets (Rok-kasen) ; inside, 
 
 square and long sheets of paper with poems (shikishi and tanzaku 
 
 respectively). The midzu-ire in the form of two figures in old court 
 
 costume, of shakudo and other alloys. 
 
 Lent by Mr. M. Tomkinson. 
 
 62 Circular Box. Probably a mirror case. Polished black lacquer ground, 
 
 decorated with cherry blossom in silver and gold togidashi lacquer, the 
 
 stamens in low relief i8th century. 
 
 Lent by Mr. Wvt. C. Alexander. 
 
 63 ChosHI. Lacquered wooden vessel, with hinged lid, for holding sake, used on 
 
 ceremonial occasions. Red lacquer ground, with decoration of gold lacquer: 
 diapers, and medallions with landscapes. i8th century or earlier. 
 
 Lent by Mr. T. IV. Cutler. 
 
 64 Square Box, with tray. The margins of pewter (okiguchi). Nashiji, decorated 
 
 with gold lacquer in low relief, and gold mosaic (gyobu) ; rocky landscape, 
 with pine, maple, lespedeza, and other autumn flowers. Early i8th century. 
 
 Lent by Mr. W. Gowland. 
 
 65 Tabako-BON. Smoking box. Mounting of bronze, engraved and partly gilt. 
 
 Polished black lacquer ground, decorated with gold togidashi ; deer among 
 autumn flowers. Attributed to one of the Shunsho family. 
 
 Lent by Mr. G. Salting. 
 
 66 Hexagonal Box, with tray. Nashiji, decorated with gold lacquer in low 
 
 relief; autumn flowers. i8th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 67 Sakazukl Large sake cup. Red lacquer ground. A carp in high relief, with 
 
 water-weeds in fine chinkin-bori. 
 
 Lent by Mr. T. IV. Cutler. 
 
I02 
 
 Case XVII. 
 
 Specimens to illustpate special kinds of lacqucp, the application 
 of decoration in lacqucp to pottery, metals, Sec, and the 
 imitation of several materials, wood, iron, alloys, &c., in 
 lacquer. 
 
 1 KOBAKO. Small box. Wood decorated in transparent lacquer. A gourd sak6 
 
 bottle (hyotan). Signed (?). 
 
 Lent by Mr. Win. C. Alexander. 
 
 2 SUZURI-BAKO. Lacquer in imitation of Chinese figure stone (agalmatolite). 
 
 Encrusted with chrysanthemums in mother-of-pearl and berries in coral, in a 
 vase of agalmatolite. Orchids, with rock of this stone, in a pot of mother-of- 
 pearl. After the style of Ritsu5 and Hanzan. i8th century. 
 
 Lent by Mr. M. Tomkinson. 
 
 8 SUZURI-BAKO. Writing box. Black lacquer, with decoration in Zonsei lacquer. 
 
 Fruits and leaves arranged in a dish on a stand of gnarled wood, after the 
 
 manner of the Chinese. 19th century. 
 
 Lent by Mr. E. Gilbertson. 
 
 4 Box IN THE FORM OF A MASK BOX (mem-BAKO). Transparent Shunkei lacquer, 
 
 edges in fish skin lacquered. Metal mounts and cord imitated in lacquer. 
 
 Lent by Mr. C. H. Read. 
 
 5 Choku. Wine cups. Made from the rind of an orange, lacquered. 
 
 & 
 
 g Lent by Mr. E. Gilbertson. 
 
 6 Ko-BON. Small tray. Lacquer in imitation of green bronze (seid5), with gold 
 
 patches (kin-gise). A child's ball (temari), with scissors, needle and thread 
 in relief, all lacquer imitations of the materials of which they are made. 
 Signed Kwozan. 
 
 Lent by Mr. M. Tomkinson. 
 
 7 Wan. Cup for food. Lacquer in imitation of shibuichi (an alloy of silver and 
 
 copper). Maple (momiji) leaves in red and gold hira-makiye. 
 
 Lent by Mr. R. Phen/ Spiers. 
 
I03 Case XVII. 
 
 9 KWASHI-BAKO. Five-lobed box for confectionery. Zogan lacquer, with silver 
 
 wire inlaid. Imitation of tetsu-zogan (iron inlaid with silver line decoration) 
 
 in diapers and meanders. 19th century. 
 
 Lent by Mr. E. Gilbertson. 
 
 10 KOBON. Small tray in the shape of a clam shell. Lacquer in imitation of 
 
 shibuichi. A crab and water plant in gold lacquer in relief (kin-makiye). 
 Signed Yo%\{C&3Xz. Early 19th century. 
 
 Lent by Mr. A. W. Franks. 
 
 11 Tabako-ire. Tobacco jar. Brown lacquer with pewter (suzu) inlays and 
 
 tortoiseshell band. Dragon above, cherry flowers below. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 12 Cha-TSUBO. Jar for powdered tea used in the Cha-no-yu, or ceremonial tea- 
 
 drinking. Lacquer in imitation of old Seto pottery. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 13 KOGAI. Ornament for a lady's hair. Lacquer in imitation of shibuichi. The 
 
 moon and five autumn flowers in gold and silver lacquer (kin and gin- 
 
 makiye). Early 19th century. 
 
 Lent by Mr. H. Virtue Tebbs. 
 
 14 JlKlRO. Luncheon box in the form of a cha-gama, or hot-water boiler used in 
 
 the Cha-no-yu or tea ceremonies. Lacquer in imitation of cast iron. 
 
 Lent by Mr. T. W. Cutler. 
 
 15 Cha-TSUBO (?). Small jar used probably for powdered tea. Lacquer in 
 
 imitation of old Seto pottery. Wooden cover with a butterfly in black and 
 
 gold makiye. 
 
 Lent by Colonel Goff. 
 
 16 Metal Box. Landscape in low relief in copper and brass with a black lacquer 
 
 ground. Imitation of Wakasa lacquer on the bottom. Probably made 
 during last century for the Dutch living in Decima. 
 
 Lent by Mr. G. M. Smith. 
 
 17 Small Box. Black and dark iron-grey lacquer, decorated to imitate zogan 
 
 work (metal inlaid with silver line decoration), entirely in lacquer without 
 the use of silver. Bamboos and sparrow and arabesques. 19th century. 
 
 Lent by Sir Trevor Lawrence. 
 
Case XVII. 104 
 
 18 NATSUMfi. A tea jar, so called from its shape, resembling that of the fruit of 
 
 the Zizyphus vulgaris (natsumd). Black lacquer on pewter. Chrysanthemum 
 
 and paulownia (kiku and kiri) badges in gold lacquer (kin-makiye) and 
 
 nashiji. 19th century. 
 
 Lent by Mr. R. Phend Spiers. 
 
 19 Tabako-ir£. Tobacco-box. Brown lacquer in imitation of karakane (Japanese 
 
 copper-lead bronze). Engraved with conventional waves. Signed Zeshin. 
 
 19th century. 
 
 Lent by Mr. Win. C. Alexander. 
 
 20 Bon. Tray. Dull black lacquer in imitation of cast iron decorated with zogan 
 
 work. Autumn flowers, and a square plaque with mother-of-pearl border, 
 
 bearing a poem (uta). The ground as well as the zogan work entirely in 
 
 lacquer. Signed Zeshin. 19th century. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 21 NatsuMi!;. Tea jar. Black lacquer, on pewter. Decorated with a fairy's robe of 
 
 feathers (ama-no-hagoromo) in gold lacquer (kin-makiye). Inside, coarse 
 
 nashiji. 19th century. 
 
 Lent by Mr. F. Yeats Edwards. 
 
 22 Ko-BAKO. Small box. Dark, rough, lacquer ground, resembling iron. Decorated, 
 
 in lo\y relief, in zogan lacquer ; two seals or signature stamps (in), and a 
 
 water vessel. Arabesques, on the sides, in cloisonnd lacquer. Style of 
 
 Zeshin. 19th century. 
 
 Lent by Mr. M. Tomkinson. 
 
 23 Metal Inkstand of foreign form. Coated with lacquer, in imitation of 
 
 Wakasa-nuri, with landscape and arabesques, in relief, in brass and copper. 
 
 Similar to No. 16. i8th century. 
 
 Lent by Mr. G. M. Smith. 
 
 24 Ko-DANSU. Small set of drawers. Red lacquer ground, with meanders in 
 
 coarsely powdered eggshell. The badge (mon) is that of Matsudaira, 
 
 Daimyo of Fukui, Echizen. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 25 NatsumIl. Tea jar. Mother-of-pearl inlays (aogai-zaiku), on gold lacquer 
 
 (kin-makiye), foliage and flowers. Revival of the style of K5rin. 19th centur>'. 
 
 Lent by Mr. W. Gowland. 
 
 26 SUZURI-BAKO. Writing box. Black lacquer, with a fret-pattern, based on the 
 
 Eight Diagrams of Chinese Philosophy, in mother-of-pearl inlays. 
 
 T^ent by Mr. F. Yeats Edwards. 
 
I05 Case XVIL 
 
 27 Cha-WAN. Cup of the form used in the Cha-no-yu or tea ceremonies. Imitation 
 
 of Yeiraku pottery, in red and gold lacquer. Shape and decoration a 
 conventional copy of a bell (tsuri-gan6). 
 
 Lent by Mr. R. PJund Spiers. 
 
 28 JO-BAKO. Nest of luncheon boxes. Upper, wood coated with transparent 
 
 lacquer to show the grain ; middle, red lacquer ; lower, green Wakasa 
 lacquer. Each decorated with medallions, in lacquers of various colours, 
 representing flowers. 19th century. 
 
 Lent by Mr. R. P/ieuJ Spiers. 
 
 2B SUZUKI-BAKO. Writing box. Togidashi mokume lacquer in imitation of the 
 grain of wood. Flowers of the chrysanthemum, aster, patrinia and 
 platycodon in kin-makiye with dewdrops in silver. i8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
 30 Pipe Case. Woven rattan, encrusted with gold and black lacquer. Tree, with birds. 
 
 Lent by Mr. E. Gilbertson. 
 
 31 SUI-MONO Wan. Covered cup for soup. Brown lacquer ground with 
 
 medallions in dark green, and in lacquer tinted to resemble gold. 
 Sho-chiku-bai, the felicitous combination of the pine, bamboo and plum. 
 
 Lent by Mr. W. H. Cope. 
 
 32, 85, 88 Choku. Wine cups. 
 
 32. Inscribed, " Made from bamboo from Otoko-yama." The site of a 
 famous temple of Hachiman, the God of War, near Ky5to. Inside, a 
 bamboo painted in lacquer on a gilt ground. 
 
 35. Inscribed, " Made of the wood of a plum tree from Kitano." The 
 grounds of the temple of Tcnjin (Sugawara Michizane), a famous 
 calligrapher of the 9th Century now deified, whose favourite flower 
 was the plum. Inside, plum flowers in red and gold lacquer. 
 
 38. Inscribed, " Made of pine wood from Takasago." A part of the shore of 
 the province of Harima, famous in mythical legends. Inside, pine 
 needles in thin gold lacquer (nuritate), arranged in the forms of pine 
 trees, on a red ground. 19th century. 
 
 Lent by Mr. F. Yeats Edwards. 
 
 33 SUZURI-BAKO. Writing box. Lacquer in imitation of the bark of the flowering 
 cherry (Prunus pscudo-cerasus) with birds in low relief in black lacquer. 
 The edge of the cover in gyobu-nashiji. i8th century. 
 
 Lent by Mr. Stuart Samuel. 
 
Case XVII. io6 
 
 34 Sashi-GUSHI. Ornamental comb for a lady's hair. Tortoiseshell, with flowers 
 in gold lacquer and mother-of-pearl inlays. 
 
 Lent by Mr. R. Plieni Spiers. 
 
 36 Ko-BAKO. Small box containing three smaller ones. Wood covered with 
 
 tortoiseshell. Bekko-zaiku of Nagasaki. Garden fence with plum tree in 
 blossom in gold and silver lacquer (kin and gin-makiye). 
 
 Lent by the Hon. IV. F. B. Massey-Mainwaring. 
 
 37 SUZURI-BAKO. Writing box. Togidashi mokume lacquer, in imitation of the 
 
 grain of wood. Medallions in gold lacquer, in high relief (taka-makiye) and 
 coarse nashiji. A landscape. Mandarin ducks and conventional waves. 
 
 Lent by Mr. F. Yeats Edwards. 
 
 39 FUTAMONO. Covered bowl for confectionery. Stoneware, painted with 
 
 lacquer (nuritate). Made in Owari. A Chinese bird (onagadori) and floral 
 arabesques in colour, on a black ground. 19th century. 
 
 Lent by Mr. R. Phend Spiers. 
 
 40 SUZURI-BAKO. Writing box. Marquetery work (yoseki-zaiku). Made at 
 
 Shizuoka, in Suruga, hence also called Suruga-zaiku. Decoration, a poem 
 (uta) in gold lacquer. 
 
 Lent by Mr. M. Tomkinsoti. 
 
 41 Cha-wan. Cup for rice. Imari porcelain, painted (nuritate) with black 
 
 lacquer, decorated with peonies and arabesques in kin-nuritate and gold. 
 19th century. 
 
 Lent by Mr. T. W. Cutler. 
 
 42 TOKURI. Bottle for sak^. Earthenware, decorated in relief, and painted with 
 
 lacquer to imitate carved red lacquer (tsuishu). Chinese scene on a diaper 
 ground. Upper and lower parts gilt and lacquered. 
 
 Lent by Mr. E. W. Hennell. 
 
 48 Wan. Cup. Made of the egg of the ostrich. Inside, a fish, Chrysophrys 
 
 cardinelis (tai), prawn (yebi), and foliage in relief in lacquer of various tints ; 
 
 a convolvulus (asagao) in kin-nuritate on the outer surface of the egg. 
 
 19th century. 
 
 Lent by Sir Henry Howorth. 
 
 44 Wariko. Covered vessel for condiments (tsukemono), with four cylindrical 
 
 holders for chopsticks. Earthenware, painted with black lacquer tnuritate). 
 
 Decoration, in green, red, and gold and silver lacquer, the seven autumn 
 
 flowers (nana-kusa), conventional birds, bats, diapers and arabesques. 
 
 Made in Owari. 19th century. 
 
 Lent by Mr. Wnt. Anderson. 
 
I 
 
 107 
 
 Case XVIII. 
 
 Specimens to illustrate special kinds of lacquep, the application 
 of decoration in lacquer to pottery, metals, &e., and the 
 imitation of several materials, wood, iron, alloys, &c., by 
 lacquer \workers. 
 
 1 Ko-BAKO. Small box. Carved wood, coated with red lacqueV. Plants of a 
 
 species of yam being metamorphosed into octopi, to the alarm of the 
 
 farmers, who are running away leaving their tools. Crabs and a clam form 
 
 a support for the box. 19th century. 
 
 Lent hy Mr. M. Totnkinson. 
 
 2 Manuscript Box. Guri lacquer in twelve layers. Chinese pattern with 
 
 interrupted fret (raimon) border. i8th century. 
 
 Lent by Mr. M. Tomkinson. 
 
 3 KWASHI-BAKO. Box for confectionery. Tsugaru lacquer, in irregular layers, 
 
 carved after the style of guri lacquer. Dragon, with clouds surrounded by 
 
 an interrupted fret (raimon) pattern. 
 
 Lent by Mr. M. Tomkinson. 
 
 3a Kembyo. Small screen used on the writing table. Tsuishu. Carved red 
 
 lacquer. Phoenix (ho-o) and peonies. Fret pattern, varieties of raimon and 
 
 arabesques. 
 
 Lent by Mr. Edivard Dillon. 
 
 4 Ko-BAKO. Small box. Terra cotta lacquer ground, with decoration moulded 
 
 in low relief in black lacquer. Seiobo, Queen of the Genii or mountain 
 spirits, on a ground of conventional waves (seigai-nami). Sides of the box 
 decorated with fishes, crabs, the lotus, and bamboo. 
 
 Lent by Mr. E. Gilbert son. 
 
 5 Tea Jar. Guri lacquer, in seven layers. Chinese pattern. Signed Zokoku. 
 
 1 8th century. 
 
 Lent by Mr. M. Tomkinson. 
 
 6 Small Box, with Pewter Hinges. Mother-of-pearl, horn and coloured 
 
 lacquer encrusted on gold ground (kinji), after the style of Ritsuo and 
 Hanzan. Lid, head of a monkey. Sides of lid, arabesques in mosaic work 
 of mother-of-pearl (raden). Sides of box, decorated with conventional 
 animals and birds in red lacquer on black ground. 
 
 Lent by Sir Trevor Lawrence. 
 
 7 Ko-BAKO. Small box. Geese and sasa (a species of Arundinacea) on black 
 
 ground, in coloured lacquer in relief, after the style of Ritsuo. Sides, tsuishu 
 diapers in shallow carving (hashika-bori). i8th century. 
 
 Lent by Mr. Wm. C. Alexander. 
 
Case XVIII. io8 
 
 8 Cha-taku. Support for a tea cup. Zonsei lacquer, black ground with decoration 
 
 in reds, greens and yellows, and engraved. Peonies, magnolias and floral 
 arabesques. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 9 NATSUMfi. Tea jar. Zonsei lacquer. Black ground. Fans in coloured lacquer 
 
 and engraved. Signed Yosei, and inscribed " Presented to his friend, Baiken, 
 on his 6 1 St birthday." i8th century. 
 
 Lent by Mr. M. Tomkinson. 
 
 10 Ko-BAKO. Small box. Red, brown and black lacquer, in imitation of serpentine. 
 
 Engraved with willows and birds. 
 
 Lent by Mr. T. W. Cutler 
 
 11 NATSUMfi. Tea jar. Red lacquer. Foliage moulded on a dull black ground 
 
 in imitation of tsuishu. 
 
 Lent by Mr. IVm. C Alexander. 
 
 12 DOMBURi. Bowl. Tsugaru lacquer. In eleven layers. Coarse marbling 
 
 produced by rubbing off the upper coatings. 
 
 Lent by Mr. E. Gilbertson. 
 
 13 Hexagonal Box. Tsugaru lacquer. Carved like tsuishu. H6w5, the phoenix, 
 
 one of the four Chinese supernatural creatures, with chrysanthemums on a 
 red diaper ground. Arabesques on the sides. 
 
 Lent by Mr. E. Gilbertson. 
 
 14 Ko-BAKO. Small box. Moulded and carved red lacquer resembling tsuishu. 
 
 On pewter. Sprigs of plum blossom (ume) on a variety of fret (raimon) 
 patterns. 
 
 Lent by Mr. G. Salting. 
 
 15 Manuscript Box. Zokoku lacquer. Red lacquer on basket-work of woven 
 
 strips of bamboo, with medallions in relief in black and gold lacquer to 
 imitate cakes of Chinese ink, decorated with old designs. 
 
 Lent by Mr. M. Tomkinson. 
 
 16 Ko-BAKO. Small box. Guri lacquer in eight layers, carved in Chinese 
 
 arabesques. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 17 FUYE-ZUTSU. Flute case. Guri lacquer in seven layers. Carved Chinese pattern. 
 
 Signed Zokoku, with the date Kayei, ki-no-ye tora (1854). 19th century. 
 
 Lent by Sir Trevor Lawrence. 
 
I09 Case XV II I 
 
 18 FUYE-ZUTSU. Flute case. Tsuikoku lacquer, carved on red ground. 
 
 Conventional flowers and arabesques. Inscribed, " Made by Zokoku, 
 in October, 7th year of Kayei (1855)." Each word of the inscription is 
 engraved in the centre of a flower. 19th century. 
 
 lent by Mr. E. Gilberison. 
 
 19 Ko-BAKO. Small perfume box. Purplelacquer carved after the style of tsuishu. 
 
 Fruit and foliage of the Eupholia lichi (reishi). 
 
 lent by Mr. M. Totnkinson. 
 
 20 Sashi-GUSHI. Comb for lady's hair. Horn, coated with lacquer to resemble 
 
 tsuikoku. Plum flowers. 
 
 Lent by Mr, R. Phene Spiers. 
 
 21 Square Box. Zonsei lacquer. Decoration in relief in various coloured lacquers 
 
 on a green ground. A fairy's cloak of feathers (ama-no-hagoromo) and 
 pine tree. Arabesques on the sides. 17th century. 
 
 Lent by Mr. R. Phen^ Spiers. 
 
 2Sl .Square Box with Tray. Tsuishu and tsuikoku lacquer. Red diaper ground 
 overlaid with black lacquer, with incrustations in ivory and mother-of-pearl. 
 An elephant, with three Chinese boys with a flag and musical instruments. 
 Sides, peacocks and peonies, and arabesques. 
 
 Lent by Sir Trevor Lawrence. 
 
 23 TOKURI. Bottle for sake. Wood. Zonsei lacquer. The ground, red on black, 
 
 is in imitation of Kamakura-nuri. The flowers and leaves are moulded in 
 
 black lacquer, with line decorations in chinkin-bori. Conventional flowers, 
 
 leaves and arabesques. i8th century. 
 
 Lent by Mr. F. Yeats Edwards. 
 
 24 ChOKU. a wine cup in the form of the Chinese peach. Tsuishu. Carved red 
 
 lacquer. Decorated with the flowers and leaves of the peach. The handle 
 bears a diagramatic representation of the sun and moon. 
 
 Lent by Mr. Edward Dillon. 
 
 25 Bon. Tray. Black lacquer, the margin in Tsugaru lacquer and its modern 
 
 varieties. A humorous representation of Gama, one of the Sennin or 
 Mountain Spirits, with his companion, a three-legged frog, performing as a 
 rope dancer. 19th century. Signed Ittosai. 
 
 Lent by Mr. R. P/iend Spiers. 
 
Case XVIII . no 
 
 26 KwASiil-lJAKO. Sweetmeat box. Wakasa lacquer. The pattern.s seen in this 
 
 lacquer are produced by pressing sprigs of the hinoki (Chamaecyparis 
 obtusa), pine, &c., into the lacquer whilst soft, filling the depressions with 
 gold-leaf or tinfoil, and subsequently coating the whole with transparent 
 lacquer. 19th century. 
 
 Lent by Mr. Wm. Anderson. 
 
 27 Sashi-GUSHI. Lady's comb. Wakasa lacquer on wood. Decorated witii the 
 
 pine, bamboo and plum, in gold lacquer. 
 
 Lent by Mr. H. Virtue Tcbbs. 
 
 28 Ko-BON. Small tray. In Tsugaru, Wakasa and kin-makiye lacquers and 
 
 aogai-zaiku. Lilies, wistaria, cherry-flowers and birds ; and plaque 
 containing an illustrated poem (uta). 19th century. 
 
 Lent by Mr. Wm. Anderson. 
 
 29 Small Box. Cover and box each intended to represent a lotus leaf. Brown 
 
 lacquer, in imitation of the surface of a gourd. The supernatural bird, 
 H5-6 (Phoenix), in moulded and carved lacquer, after the style of Ritsuo 
 Signed Gozan. 
 
 Lent by Mr. G. Salting. 
 
 30 SUZURI-BAKO. Writing box. Nambu lacquer, in pine and wave patterns, and 
 
 with gourd-shaped medallions : one representing a horse in taka-makiye on 
 shitan wood (a species of Pterocarpus) ; the other, a bow with a quiver of 
 arrows, and an archer's glove in taka-makiye on a coarse nashiji ground. 
 The latter, according to the inscription, is after a painting by Isen-in Hoin 
 (died 1828). The former after a painting by his son, Seisen-in Hogen. 
 19th century. 
 
 Lent by Sir Trevor Lawrence. 
 
 81 Ko-BAKO. Small perfume box. Ground of shunkei lacquer, to which the design 
 is affixed and then covered with lacquer. Signed Sairo, of the Ko-sho 
 Kwaisha (a Japanese Manufacturing Company). Modern. 
 
 Lent by Mr. M. Tomkinson. 
 
 32 Covered Box. Zokoku lacquer, on basket work of bamboo. Decoration in 
 
 coloured lacquers and engraving. The three Chinese heroes of the Later 
 Han dynasty (2nd century). Copied from a Chinese design. 
 
 Lent by Mr. M. Tomkinson. 
 
 33 Small Ju-bako. Set of boxes in tiers. Zon.sei lacquer. Flowers, leaves and 
 
 insects, in green and red lacquer. Carved in low relief 1 8th century. 
 
 Lent by Mr. E. Gilbertson. 
 
Ill Case XVIII. 
 
 34 SlIlKlSHI-BAKO. Box for papers. Zonsei lacquer. The autumn leaves of the 
 
 maple (momiji) in red, green and yellow lacquer, on a black ground. Edges 
 
 in gold lacquer (kinji). i8th century. 
 
 Lent by Mr. M. Tomkiiison. 
 
 85 Ko-BAKO. Small box. Red on a black ground, in imitation of Kamakura 
 
 lacquer. Dragons in taka-makiye and gyobu-nashiji. 
 
 Letit by Mr. Win. C. Alexander. 
 
 86 Natsum£. Small tea jar. Black lacquer incrusted in high relief, with coloured 
 
 lacquer in the style of Yosei. (Compare Case IX., 44). Flowers of the 
 winter plum, chrysanthemum, peony and a liliaceous plant. i8th century. 
 
 Lent by Mr. M. Tomkinson. 
 
 87 Bon. Tray. Mother-of-pearl and Chinese figure stone (agalmatolite) inlays 
 
 and incrustations on black lacquer, after the style of Ritsuo and Hanzan. 
 Quails (uzura). Ears of millet around the border. 18th century. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 38 -Small Box. Zokoku lacquer. Carved in low relief and engraved. A Kirin, a 
 
 creature with one horn, one of the four supernatural animals of the Chinese, 
 
 in black, with peonies and arabesques in brown on a red ground. 
 
 Signed Zokoku. 
 
 L^nt by Mr. M. Tomkinson. 
 
 30 Ko-BAKO. Small octagonal box. Zonsei lacquer. Peony, with leaves in pink 
 
 and green lacquer, on reddish ground showing minute diapers in coloured 
 
 lacquers. i8th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 40 Sashi-GUSHL Ornamental combs for ladies' hair. Eight specimens, A to H, 
 
 illustrating the application of lacquer for the decoration of horn, wood 
 
 and ivory. 
 
 Lent by Mr. R. Phen^ Spiers. 
 
 Mr. H. Virtue Tebbs. 
 
 Mr. H. S. Trower. 
 
 41 SUZURI-BAKO. Writing-box. Chinkin-bori. Black lacquer engraved with a 
 
 rat's tooth in fine lines, which are afterwards coated with powdered gold. 
 Chinese birds and flowers on a diaper ground. 18th century. 
 
 Lent by Mr. M. Tomkiiison. 
 
Case XVIII. 112 
 
 42 SUZURI-BAKO. Writing-box in form of the fan (gyoji-uchiwa) used by the 
 
 umpire (gyoji) at wrestling matches. Chinkin-bori lacquer. Dragons and 
 clouds on a black ground. 
 
 Lent by Mr. Wm. Anderson. 
 
 43 Staves. Showing sixty-three different varieties of lacquer used for the 
 & scabbards of Japanese swords, 
 
 44 Lent by Mr. E. Gilbettsvn. 
 
 45 Small Box with silver hinges and mounts. Chinkin-bori. A landscape, 
 
 after a Chinese painter. 
 
 Lent by Sir Trevor Lawrence. 
 
 46 Suzuri-BAKO. Writing-box. Chinkin-bori. A dragon and clouds on a 
 
 black ground. 
 
 Lent by Mr. F. Yeats Edivards. 
 
 Case XIX. 
 
 Bronzes, Inlaid Metal, Combs, Lacquer on Ivory, and other 
 Lacquer, including^ several specimens showing early European 
 
 influence. 
 
 1 KORO. Small incense burner of bronze, imitating basket work. 1 8th century. 
 
 Lent by the Hon. W. F. B. Massey-Mainwaring. 
 
 2 Pricket Candlesticks, of hammered sentoku, partly repousse. Hiroshima 
 & ware. Open work of conventional leaf scroll. i8th century. 
 
 " Lent by Sir Trevor Lawrence. 
 
 3 Badarai. Flower dish- Flat bronze vessel for arrangement of orchis or 
 
 narcissus. In the form of an old tree trunk, covered with the leaves and 
 tendrils of a small creeping plant. Seal Yoshimichi (or Gido). 
 
 Lent by Mr. Alfred Parsons. 
 
 4 Plaque of Copper. Surface of two tints, arranged to resemble wood grain 
 
 (mokume). Incrusted with pottery and shibuichi ; lemon — sliced to show 
 
 interior — and leaf. 
 
 Lent by Mr. S. Bing. 
 

 1 1 3 Case XIX. 
 
 6 KORO. Incense burner of bronze. Conventional heraldic looking lion with 
 
 claw of bird, the head forming a hinged lid. Perhaps not Japanese. 
 
 Lent by Mr. Alfred Cock. 
 
 7 KORO. Small incense burner. Bronze, gilt in places. Conventional lion on 
 
 top. One of a set of five articles (go-gusoku) placed in front of a Buddhist 
 
 shrine. 
 
 Lent by Mr. Alfred Cock. 
 
 8 KoRO. Incense burner, in the shape of a bowl, tied round with cord, and 
 
 supported by three boys in Chinese costume. Perhaps Chinese. 
 
 Lent by Mr. H. f. Pfungst. 
 
 9 Okimono. Bronze. S'akyamuni (Shaka) in his mountain retreat. The base 
 
 representing fantastic rocks and leaves. 
 
 Lent by Mr. Alfred Cock. 
 
 10 FUD£-TATfi. Cylindrical bronze pen stand. Open work of clouds, and 
 
 medallion with the howo bird. 
 
 Lent by Mr. Wm. Anderson. 
 
 11 FlowER-TAZZA. The under surface of the basin decorated with small con- 
 
 ventional birds (chidori). Seal Toiin iru. Cast by Toiin. Early 19th 
 
 century. 
 
 Lent by Mr. Wm. Anderson. 
 
 12 Cylindrical Flower Vase. Decoration in low relief of Chinese landscape 
 
 and conventional clouds. 
 
 Lent by Mr. W. Harding Smith. 
 
 13 Flower Vase. Of pale bronze. Decoration in low relief: medallion with 
 
 design of Chinese character. 
 
 Lent by Mr. Frank Dillon. 
 
 14 Flower Vase. Bronze. In the shape of a treasure bag with silk tassel, 
 
 supported by three mice. 
 
 Lent by Mr. H. f. Pfungst. 
 
 15 Small Flower Vase. Bronze. A salamander-like dragon encircling the neck. 
 
 Patches of gold on the surface, in imitation of the old Chinese bronzes. 
 
 Lent by Mr. Alfred Cock. 
 
Case XIX. 114 
 
 16 Small Flower Vase. Bronze. The handles formed by the protruding tongue 
 
 of a dragon. Chinese date of Ming dynasty on neck, but probably Japanese. 
 
 Lent by Mr. Alfred Cock. 
 
 17 KORO. Incense burner. Bronze, with mottled red and black patina. Chinese 
 
 peach with leaves and young fruit. 
 
 Lent by Mr. Alfred Cock. 
 
 18 Brazier. Hammered copper inlaid with silver. Decoration of flying bats, with 
 
 key pattern along the margin. Probably old Chinese. 
 
 Lent by Mr. S. S.foseph. 
 
 19 Fud£-TAT£. Cylindrical bronze pen-stand. Decorated in low relief with a 
 
 mountain landscape. Seal Takusai. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 20 Flower Vase. Bronze. Handles formed by the protruding tongues of dragons. 
 
 Lent by Mr. Edward Dillon. 
 
 21 Tobacco Pouch. Leather and embroidered silk. The mountings of various 
 
 metals. The chain connecting the pouch with the netsuke is in the 
 shape of a man in armour, with jointed limbs, chiefly of damascened iron, 
 with face of ivory, evidently meant to represent a European. From his belt 
 hangs a small silk embroidered bag, of unknown use. The upraised hands 
 support the netsukd, also of damascened iron, which formerly held some 
 object. There are small medallions of bone or ivory, carved in low 
 relief, on the bag and netsuke, with the signs of the zodiac. Inside the 
 pouch, there is a small ivory plaque on the metal work, with the signature 
 Kazutora, but this, perhaps, forms part of a later addition. 17th century. 
 
 Lent by Sir Trevor Lawrince. 
 
 22 Tobacco Pouch. Leather. The clasp in the shape of a treasure ship 
 
 (takara-bune) on silver waves, the boat and sails of tortoiseshell, rocks of 
 malachite. The chain connecting the pouch with the netsuke, and the 
 netsuke itself, of damascened iron, with ivory (or bone) plaques, the two 
 upper ones with Chinese subject, the lowest representing Yorimasa and his 
 retainer slaying the " nuye " monster. 17th century. 
 
 Lent by Sir Trevor Lawrence. 
 
115 Case XIX. 
 
 23 RyosHI-BUNKO. Manuscript box, with tray. Black lacquer ground, decorated 
 with gold lacquer of various shades, silver lacquer, and gold and silver foil. 
 On the lid, a scene in the grounds of the palace (Gosho) at Kioto. The Court 
 carriage in the foreground, noblemen (kug<5) in Court dress dancing before 
 the Emperor. On the tray, a Chinese landscape, painted in black lacquer, 
 on a gold ground, surrounded by floral scrolls and diapers. On the under 
 surface of the lid, on a black lacquer ground, in large capitals of gold foil, 
 
 MARIA . UAN . DIEMEN 
 
 within a border of fine scroll work, resembling design in Cantonese lacquer. 
 Around the sides of the box are scenes of Japanese Court life. There is a 
 strange mixture of Chinese and Japanese motifs in all these scenes, as well 
 as in the decoration ; the Emperor, in the Court scene on tho lid, is seated 
 on a throne and not concealed behind a screen, and the style in places 
 resembles the Chinese lacquer exported to Europe in the last century. 
 The inside of the box is of plain nashiji. Probably made in Nagasaki, about 
 1700, or perhaps earlier. The black polished lacquer on the exterior has 
 acquired a dead surface, characteristic of pieces that have been long in 
 England. 
 
 From the Hamilton collection, and said to have been formerly in the 
 possession of Mr. Beckford at Fonthill. 
 
 Lent by Sir Trevor Lawrence. 
 
 24 Small Tray. Of polished black lacquer, decorated with gold in low relief. 
 Two flying cranes. Signed Giokkoku. Late 1 8th century. 
 
 Lent by Mr. R. Phene Spiers. 
 
 25 Octagonal Tray. Polished black lacquer, decorated in low relief with gold 
 
 lacquer. Boys, in fantastic Chinese dresses, catching butterflies among 
 
 autumn flowers. i8th century. 
 
 L^nt by Mr. Willoughby J. G. Loudon. 
 
 26 Small Tray. Companion to No. 24. Medallion with view of Fuji-san in gold 
 
 and silver lacquer. Late 1 8th century. Signed Giokkoku. 
 
 Lent by Mr. T. W. Cutler. 
 
 27 Circular Tray. Polished black lacquer. Decorated with gold lacquer and 
 
 nashiji. Badges of paulownia (go-san no kiri). 
 
 Lent by Mr. R. Phen^ Spiers. 
 
Case XIX. 1 1 6 
 
 28 Three Miniature Vessels. Box in tiers, water vessel and box, probably 
 
 29 toys given on the Hina festival of the 3rd of March. Polished black 
 & lacquer, decorated with gold. Two of these have the Tokugawa badge. 
 
 "^ Lent by Colonel Goff. 
 
 31 Box, in the form of two intersecting cubes. One, with natural wood, decorated 
 
 with gold and silver lacquer in low relief The other, of dark metallic 
 
 ground of lacquer, decorated with chrysanthemum and trellis work. 
 
 1 8th century. 
 
 Lent by Sir Robert Meade. 
 
 32 KoGO. Cylindrical box, containing nine smaller boxes for keeping incense. 
 
 Gold lacquer of two shades in low relief. Mountain landscape, with 
 Buddhist temples, bank and stream. 1 8th century. 
 
 Lent by Sir Robert Meade. 
 
 33 KoGO. A six-lobed box, supported on stand, and containing, under a tray, 
 
 seven small boxes for incense. On poudre ground passing into plain gold. 
 Decoration of gold lacquer in low relief. Buddhist shrines on river bank. 
 On the sides, fans and chrysanthemums. i8th century. 
 
 Lent by Sir Robert Meade. 
 
 34 KOGO. Square box, containing tray and four small square boxes. Gold lacquer 
 
 poudr6, and in low relief on a gold ground. Temples by the water side. 
 
 1 8th century. 
 
 Lent by Sir Robert Meade. 
 
 35 Oblong Box. Polished black lacquer decorated in low relief, with conventional 
 
 chrysanthemum flowers of gold lacquer. i8th century. 
 
 Lent by Sir Robert Meade. 
 
 The above five objects are from a collection of lacquer brought home from 
 China in 18 16 by Lord Amherst, our second Envoy to Pekin. They have 
 remained in his family ever since. 
 
 36 Nest of Small Boxes, with lid (of kabuse-buta form). Black ground with 
 
 fine gold flakes (gyobu). Decoration, gold lacquer in low relief and gold 
 foil, key-pattern with flowers and howo birds. From the Hamilton Palace 
 Sale. Signed IIA.KVI, 5^^/ Kiyoshi. 1 8th century. 
 
 Lent by Sir Trevor Lazvrence. 
 
1 1 7 Case XIX. 
 
 37 JO-KOGO. Small nest of boxes for incense. Black lacquer irregularly poudr^ 
 with gold. Decoration, red, green and metallic lacquer in togidashi and low 
 relief; chrysanthemum flowers. i8th century. 
 
 Lent by Sir Trevor Lawrence. 
 
 38 JO-KOGO. Small nest of boxes. Mosaic of mother-of-pearl in black lacquer 
 
 ground Craden). Inside, red lacquer dappled with gold. 17th century. 
 
 Perhaps Chinese. 
 
 Lent by Mr. W. Harding Smith. 
 
 39 Natsume. Small cylindrical box for tea. Natural wood, decorated with gold 
 lacquer. A trailing water plant. i8th century. 
 
 Lent by Mr. T. W. Cutler. 
 
 40 Thirty-four examples of the application of Lacquer to the 
 
 DECORATION OF COMBS AND ORNAMENTS FOR LaDIES' HAIR. 
 
 A to Z4. Sashi-gushi. Ornamental combs which are placed upright 
 in the hair near the back of the head, in front of the chignon. The 
 different forms are used according to the special style in which the hair 
 is arranged, and also according to the age of the wearer. Signed 
 (I) Kwansai, (G) Riugiokusai, (O) Yoyusai, after design of Hoitsu, and 
 (P) Shugetsu. 
 
 AA. Kanzashi. Hair pins worn at one side of the head, generally in front 
 of the comb. 
 
 BB. Kogai. Hair pins worn at the back of the head, being thrust through 
 the chignon, so that their ornamental ends are shown. 
 
 Lent by Mr. H. S. Troiver. 
 
 Mr. H. Virtue Tebbs. 
 Mr. R. Phen^ Spiers. 
 
 Lacquer on Ivory. 
 
 41 Paper Knife. Ivory, decorated with gold lacquer and incrustation of mother- 
 of-pearl and other material. Wistaria, convolvulus, birds and butterflies. 
 Modern. 
 
 I. Lent by Mr. W. H. Cope. 
 
 \ 
 
Case XIX. ii8 
 
 42 Small Box. Ivory, decorated with gold and dark lacquer in low relief. Design 
 
 of flower vase and magnolia. Signed ShSrinsai. 
 
 Lent by Mr. T. W. Cutler. 
 
 43 Small Box, probably for carrying cosmetics. Ivory, decorated with gold 
 
 lacquer of two shades, with some red and black lacquer. Cranes, blossoming 
 plum and bamboo. Lacquer gilt inside. 
 
 Lent by Mr. Edward Dillon. 
 
 44 Small Box with Lid. Probably for carrying cosmetics or pocket mirror. 
 
 Ivory, decorated with gold and silver lacquer. Butterflies, with tall grass 
 
 covered by dewdrops. 
 
 Lent by Mr. R. Phene Spiers. 
 
 45 Ko-DANSU. Small cabinet. Ivory, silver mounted. Decorated with gold lacquer 
 
 of various shades in low relief, with mother-of-pearl, both as fine mosaic 
 (raden) and as incrustation. Stained ivory and other materials also incrusted. 
 On the top, a vine trellis with hanging grapes ; in the tray, a bunch of 
 chrysanthemums. The drawer contains a small writing box. 
 
 Lent by Mr. G. Salting. 
 
 46 Small Box. Ivory, the ground stained red. Maple leaves and pine needles. 
 
 Letit by Mr. R. Phen^ Spiers. 
 
 47 Small Box. Ivory, mounted with brass. Decoration of gold and red lacquer 
 
 in low relief, and ivory incrustation. Inside, lacquer gilt. Sparrow, plum- 
 blossom and girl playing. 
 
 Lent by Mr. T. W. Cutler. 
 
 48 Ko-DANSU. Very small cabinet, with drawers. Ivory, mounted with silver. 
 
 Decorated with red and green lacquer, and incrustation of silver and gold ; 
 
 chrysanthemum, butterflies and insects. 
 
 Lent by Sir Trevor Lawrence. 
 
 49 Two Combs (Sashi-gushi). Ivory, decorated with gold in low relief. Begonia 
 
 (shu-kaido) and lespedeza (hagi). 
 
 Lent by Mr. R. Phen^ Spiers. 
 Mr. H. Virtue Tebbs. 
 
► 
 
 119 Case XIX. 
 
 50 KoG5. Small box, in the shape of a clam shell. Polished ground of gold lacquer, 
 
 with clouds in low relief. Incrustation of small shells, in various metals. 
 
 The inside lacquered with gold-foil, in irregular shreds, worked up with a 
 
 rich red and brown lacquer. Attributed to one of the Kajikawa family. 
 
 1 8th century. 
 
 Lent by Mr. Stuart Samuel. 
 
 51 Small Cabinet, with drawers. Silver mounting. Decorated with gold 
 
 lacquer of various metallic shades, and nashiji ; lozenge shaped diapers 
 
 (hana-bishi). i8th century. 
 
 Lent by Colonel Goff. 
 
 52 Small Bowl. Inside, red lacquer ground, decorated with gold lacquer in two 
 
 tints ; fish and waterweeds. Outside, gold lacquer on a black ground ; 
 
 diaper (shippo-tsunagi), with the plum-blossom badge of the Sugawara 
 
 family. 1 8th century. 
 
 Lent by Mr. T. IV. Cutler. 
 
 53 Circular Box. Polished black lacquer ground, togidashi, decoration of gold 
 
 lacquer of two shades : the coronet of a marquis, a monogram of the 
 letters G and M, and two floral scrolls. Imitation of European design of 
 the late 17th or early i8th century. Round the side, floral decoration of 
 peonies in Japanese style. Inside, plain nashiji. 
 
 Lent by Mr. A. W. Franks. 
 
 54 KoGo. Small box for incense, in the shape of a cage for keeping quail. Gold 
 
 lacquer of various shades, and gold foil, to imitate the sides of cage and the 
 netted top. iSth century. 
 
 Lent by Mr. R. Phend Spiers. 
 
 55 Ju-BAKO. Box in tiers for holding food. Ground of white, finely crackled 
 
 lacquer. Decoration, of red, black, gold and other coloured lacquers, 
 conventional leaves and flowers ; the style and colour somewhat resembling 
 Persian or Turkish work. The inside of nashiji. i8th century. 
 
 Lent by Mr. Edward Dillon. 
 
 56 KoG5. Small box for incense. Part of a nest of boxes (ju-kogo). Black 
 
 lacquer, inlaid with mother-of-pearl, peony flower of white lacquer, in low , 
 relief, the leaves and stem of nashiji, brown and gold lacquer. 17th century. 
 
 Lent by Mr. G. Salting. 
 
I20 
 
 Sakazuki. 
 Sakazuki. 
 Sakazuki. 
 
 9. Sakazuki. 
 
 Case XX. 
 
 Collection of Sakazuki (Sake Cups) and Inro, arranged 
 according- to Material and Inlay. 
 
 A.— SAKAZUKI. 
 Unless otherwise specified, they are all gold decoration on red lacquer, 
 
 1. Sakazuki. Gourd plants. Lent by Mr. R. Phen'e Spiers. 
 
 2. Sakazuki. View of Toga-no-o, near Kioto. Lent by Mr. R. Phene Spiers. 
 
 3. Sakazuki. View of Yoshiwara, Yedo. Coloured lacquer in relief and gyobu. 
 
 Lent by Mr. R. Phene Spiers. 
 
 4. Sakazuki. One of set decorated with the Go-sekku (the Five Festivals). (See 
 
 Case XVI., 56-58). March 3rd. Cherry tree, toy-dogs (inu-hariko) and shells in 
 basket. Signed Shomosai Masamitsu. Lent by Mr. R. Pheni Spiers. 
 
 5. Sakazuki. Fukurokuju in hollow pine. Signed Koami. Lent by Mr. E. Gilbertson. 
 
 6. Sakazuki. Dance of the Shojo. Signed Michiyuki. Lent by Mr. R. P/iene Spiers. 
 Toys for Hina Festival. Signed Kajikawa. Lent by Mr. R. Phetie Spiers. 
 Storm Dragon, and Fuji-san. Black and red on gold ground. 
 
 Lent by Mr. R. Phene Spiers. 
 View of Shinobazu-no-ike, near Uyeno. Gold and silver on tortoiseshell. 
 Signed ShSkwasai. Lent by Mr. W. LL. Cope. 
 
 10. Sakazuki. View of Enoshima and Fuji-san. Gold and silver lacquer on tortoiseshell. 
 
 Signed Shokwasai. Lent by Mr. W. H. Cope. 
 
 11. Sakazuki. View of Moat of Yedo Castle. Gold and silver lacquer on tortoiseshell. 
 
 Signed Shokwasai. L^nt by Air. W. II. Cope. 
 
 12. Sakazuki. Flying cranes. Gold lacquer and foil on tortoiseshell. 
 
 Lent by Mr. E. Gilbertson, 
 
 13. Sakazuki. Peacock. Black and coloured lacquer in relief on gold ground. &^W(r(/ Fukujusai. 
 
 Lent by Mr. R. Phene Spiers. 
 Sakazuki. Hina dolls and Badge. Lent by Mr. R. Phenk Spiers. 
 
 Sakazuki. Landscape with rising sun. Lent by Mr. R. Phen'e Spiers. 
 
 Sakazuki. Shore of the Bay of Yedo. Black and gold. Lent by Mr. R. Pheni Spiers. 
 
 Sakazuki. Bridge over Sumida-gawa, Yedo. Black and gold. Lent by Mr. R. Phene Spiers. 
 Sakazuki. Carp ascending torrent. Black, silver and gold. Signed Kwaryusai. 
 
 Lent by Mr. IV. Anderson. 
 Sakazuki. View of Fuji-san from Coast. Signed Kwoshusai. Lent by Mr. W. Anderson. 
 Sakazuki. Emblems of Longevity. Gold, on pale red ground. Lent by Mr. R. Phetie Spiers. 
 Sakazuki. Elaborate floral decoration in gold, on pale red ground. Lent by Mr. E. Gilbertson. 
 Sakazuki. Kai-oke (shell-box) and uta cards. Lent by Mr. R. Phetie Spiers. 
 
 Sakazuki Daikoku steering the treasure boat. Gold, gyobu and silver. 
 
 Lent by Air. R. Phene Spiers. 
 Sakazuki. Fern decoration. Lent by Air. R. Pheni Spiers. 
 
 Sakazuki. Lespedeza. Signed Sunsai. Lent by Mr. E. Gilbertson. 
 
 14 
 IS- 
 16. 
 
 17- 
 18. 
 
 19. 
 20. 
 21. 
 22. 
 23- 
 
 24. 
 
 25' 
 
1 2 1 Case XX. 
 
 SAKAZUKI — Continued on two lowest shelves. 
 
 26-31. Sakazuki. Set of six. Ground of yellow lacquer, resembling gold. Decoration, lacquer 
 in low relief, gold and various colours; plants and insects. Rice (in^), Brinjall (nasubi), 
 Loquat (biwa), Persimmon (kaki), Bean (mam^), Commelyna communis (boshibana). 
 Signed Sh5kwasai. Early 1 9th century. Lent by Mr. T. IV. Cutler. 
 
 32. Sakazuki. Decoration, black and gold (with gyobu) in high relief. Long-tailed tortoises 
 
 (mino-game) on rock. Signed Kajikawa. Zent by Mr. Wm. Anderson. 
 
 33. Sakazuki. Decoration, silver, gold and black lacquer in low relief. Waterfall and cherry 
 
 blossom. Signed Kajikawa. Lent by Mr. Jl'm. Anderson. 
 
 34. Sakazuki. Rough painting in black lacquer to imitate Chinese ink (sumi) drawing of Kano 
 
 school. Horse and tiger. Signed Kakosai. Lctit by Mr. Wm. Anderson. 
 
 35. Sakazuki. Rough jwinting in black lacquer, to imitate Chinese ink drawing. Monkey as 
 
 Sambaso dancer. Signed Kakosai Lent by Mr. Wm. Anderson. 
 
 36. Sakazuki. Natural wood. Decoration, gold lacquer in low relief. Persimmon branch. 
 
 Signed Gyokusai Tachibana Masamitsu. Lent by Mr. Wm. Anderson. 
 
 37. Sakazuki. Decoration, gold and black lacquer in relief. Carp (koi) and water weeds. 
 
 Signed Masushige. L^nt by Mr. Wm. Anderson. 
 
 38. Sakazuki. Decoration, gold foil and black lacquer. Dragon holding crystal ball (hoju). 
 
 Signed Kajikawa. Lent by Mr. W. Gilbertson. 
 
 39. Sakazuki. Decoration, gold and dark metal lacquer. Cranes flying over conventional waves 
 
 (seigai-nami). Le7it by Mr. R. Phen'e Spiers. 
 
 40. Sakazuki. Decoration, gold lacquer of various shades. Sowing seed bed of rice. 
 
 Lent by Mr. R. Phene Spiers. 
 
 41. Sakazuki. Decoration, gold foil, gyobu and gold lacquer. Long-tailed tortoise (mino-game) 
 
 and pine tree. Signed Koami. Lent by Mr. E. Gilbertson. 
 
 42. Sakazuki. Decoration, gold and black lacquer. The Karasaki pine tree on Lake Biwa 
 
 (Omi Hakkei). Signed Kajikawa. ' Lent by Mr. R. Phene Spiers. 
 
 43. Sakazuki. Decoration, rough painting on black lacquer to imitate sumi (Chinese ink 
 
 drawing). Hotel carrying wallet over shoulder. Lnscribed "Painted by Takdkiyo." 
 
 Lent by Mr. T. W. Cutler. 
 
 44. Sakazuki. Decoration, gold of various shades in low relief. Comic wind God and coolies. 
 
 Signed Ryusensai. Lent by Mr. R. Phen'e Spiers. 
 
 45. Sakazuki. Decoration, gold foil, gold and black lacquer. Jurojin's fan and scroll fastened 
 
 to pine tree, and crane. Signed Koami. Lent by Mr. E. Gilbertson. 
 
 46. Sakazuki. Decoration, gold and coloured lacquer in low relief. Carp leaping through 
 
 waves. Lent by Air. R. Phenk Spiers. 
 
 47. Sakazuki. Decoration, gold and coloured lacquer in low relief. The dream of a Shojo, 
 
 parody of the Dream of Rosei. Signed Tojosai. Lent by Mr. E. Gilbertson, 
 
 48. Sakazuki. Decoration, gold and black lacquer in low relief. Fukurokuju and two boys 
 
 warming their hands over a brazier in the form of a stag, with symbols of wealth in 
 the field. Signed Kishu. Lent by Mr. R. Phene Spiers. 
 
 49. Sakazuki. Decoration, gold foil and gold lacquer. Cherry flower and fan. Signed Hoxn. 
 
 Lent by Mr. E. Gilbertson. 
 
 50. Sakazuki. Decoration, various shades of gold and black lacquer on pale red ground. 
 
 Sambaso dancer. Lent by Mr. R. Phene Spiers. 
 
Case XX. 
 
 122 
 
 B.— INRO. 
 
 Metal. 
 
 1. Inro. Silver-gilt. Decorated with creeping plants in filagree enamel. 
 
 Lent by Mr. M. Tomkinson. 
 
 2. Inro. Silver-gilt. Outer case with pattern in relief of gold, copper and shakudo, resembling 
 
 enamel. Inner case, cloud pattern in gold and copper. 
 
 Lent by Mr. E. Gilbertson. 
 
 3. Inro. Olive shibuichi with plaques of enamel, silver and gold, with seals of famous painters. 
 
 Lent by Mr. E. Gilbertson. 
 
 4. Inro. (Outer case.) Gold, silver and copper in relief on shibuichi ground ; Chinese sage and 
 
 kara-shishi. Signed Saito Mototomo. Lent by Mr. H. S. Trower. 
 
 5. Inro. (Outer case only.) Gold, silver, shakudo and copper in relief on shibuichi ground. 
 
 Cherry-tree and dove by gate of temple ; on the other side, the Ni-wo are wrestling 
 
 together. Signed Kwakujusai Katsutoshi. 
 
 Lent by Mr. IVm. C. Alexander. 
 
 6. Inro. Silver, in pierced iron case. Servant of Shinto temple carrying lantern through 
 
 rain-storm. Lent by Mr. Wm. C. Alexander. 
 
 7. Inro. Iron, chased and inlaid. " Omi Hakkei " — The eight views of Lake Biwa. 
 
 Signed Noriyuki (one of the Hamano family), latter half i8th century. 
 
 Lent by Mr. E. Gilbertson. 
 
 8. Inro. Sentoku with incrustation of silver and various metals. 
 Signed Yasuchika (of the Nara family). 
 
 9. Inro. (Case only.) Bronze, pierced and lined with brocade. 
 
 10. 
 
 Hare and dwarf bamboo. 
 
 Lent by Mr. E. Gilbertson. 
 
 Signed Tokusai. 
 
 Lent by Mr. M. Tomkinson. 
 
 Inro. Wood, with drawers. In pierced shibuichi case, with incrustation of gold, &c. 
 
 Urashima returning on fish. Signed Shoji Katsunobu. Lent by Mr. E. Gilbertson. 
 
 II. Watch in form of inro, with compass at base. Works probably imported, still in working 
 
 order. Signed h.%Vi<!\\. 1 8th century. Lent by Mr. M. Tomkinson. 
 
 Metal with lacquer 12. Inro. Inner case in form of double tray of togidashi lacquer. Outer case black lacquer 
 
 with two discs of gold and shibuichi. Signed Somin, on metal plate. 
 
 Lent by Air. M. Tomkitison. 
 Inro. Black lacquer, encircled by silver dragon in relief. Tokugawa badge in gold 
 lacquer. Signed Takase. Lent by Mr. M. Tomkinson. 
 
 Into. Outer case, gold lacquer, clouds in relief. Incrustation of gold and other metals 
 high relief. Benten standing upon dragon. Inner case, togidashi, conventional wave 
 decoration. Signed, on metal plate, Higashiyama Motonobu, and in lacquer, 
 Rinankei. Modern. Lent by Mr. M. Totnkinson. 
 
 Inro. Exceptionally large. Nashiji, overlaid with various metals in high relief. Battle 
 scene. Signed, on metal plate, Seiryuken, and in lacquer, Hayakawa Fun-unsai. 
 19th century. Lent by Mr. M. Tomkinson. 
 
 16. Inro. Gold lacquer in high relief. Dragon (silver and shakudo on either side) among 
 storm clouds. Lent by Colonel Goff. 
 
 17. Inro. Silver box, in black lacquer case. Signed va&\3X, Mitsuyoshi, and lacquer, Komin. 
 
 Lent by Mr. M. Tomkinson. 
 
 13- 
 
 14. 
 
 IS- 
 
12' 
 
 Case XX. 
 
 18. 
 19- 
 
 22. 
 
 23- 
 
 24. 
 
 25- 
 26. 
 
 28. 
 
 29. 
 30- 
 
 3'- 
 
 32- 
 
 33- 
 34- 
 
 35- 
 36. 
 
 Inro. 
 
 Inro. 
 
 Inro. 
 
 Inro. 
 
 Inro. 
 
 Inro, 
 
 inro. 
 
 Inro. 
 
 Inro. 
 
 Inro. 
 
 Black lacquer, decorated with translucent cloisonnd enamel. Peony, butterflies, &c. 
 Signed Hirata Narikado, aged 81 (about 1750). Lent by Mr. Stuart Samuel. 
 
 Fine kinfun-ji (gold poudrif ground). Incrustation in relief of gold, silver, mother- 
 of-pearl and coral: flowers, leaves and fruit. (Owari lacquer.) 1 8th century. 
 
 Lent by Mr. E. Gilbertson. 
 
 Gold lacquer ground. Decoration, incrustation in high relief of various metals, 
 tortoiseshell, mother-of-pearl, coral, &c. Pheasant on wild cherry tree and peony. 
 19th century. Lent by Air. E. Gilbertson. 
 
 Ivory, with gold lacquer plaques, square and fan-shaped. 
 
 Lent by Mr. R. Phene Spiers. 
 
 Fish-skin, polished and lacquered. Gourd leaves in gold, lacquer and lead. Early 
 1 8th century. Lent by Mr. E. Gilbertson. 
 
 Ray-skin (same-gawa), polished and lacquered. Chrysanthemum and bear in gold, 
 red and black lacquer. Early 18th century. Lent by Mr. E. Gilbertson. 
 
 Covered with leather. Decoration, a badger, disguised as a woman ; gold and 
 dark coloured lacquer. Signed Z.^'^m.. 19th century. Lent by Mr. E. Gilbertson. 
 
 Polychrome Kioto pottery, lacquered on edges; risers of wood. Dragon and tiger. 
 1 8th century. Lent by Mr. AL Tomkinson. 
 
 Small bottle-gourd (hyotan). Dragon and storm cloud in black, gold and red 
 lacquer in relief. Early i8th century. Lent by Mr. Win. C. Alexander. 
 
 Made from a tree fungus (reishi). Elephant, in gold lacquer in relief, carrying peony 
 flower of mother-of-pearl. Lent by Air. E. Gilbertson. 
 
 Made from a tree fungus (reishi). Overlaid with Chinese characters in gold. 
 The Chinese character, Ju (longevity), written in various styles. 
 
 Lent by Air. R. Phene Spiers. 
 
 Cherry-bark. Gold lacquer and mother-of-pearl in relief. Egrets, lotus leaf and 
 reeds. Signed Toyb. 1 8th century. Lent by Mr. E. Gilbertson. 
 
 Natural wood. Branch of nandina (nanten). Gold lacquer and coral in relief. 
 
 Lent by Air. R. PhetU Spiers. 
 
 Natural wood. Kappa (imaginary animal living in streams) under gourd trellis; 
 carved lacquer and incrustation of gold lacquer in low relief. 
 
 Lent by Air. IV. Harding Smith. 
 
 Natural wood. Decoration, gold lacquer in high relief, with incrustation of mother- 
 of-pearl and coral. Cock under plum-tree. .S'4'''/^'^ Kwan-yosai. Early 19th century. 
 
 Lent by Air. E. Gilbertson. 
 
 Natural wood. Decoration, lacquer of various colours in relief. Faces of ivory. 
 Yoshitsune and Benkei on the Gojo Bridge, Kioto. Lent by Air. J. Gurney. 
 
 Gold lacquer, with faces in ivory. Raiko, on the way to kill the Shuten-doji, finds a 
 maiden washing blood-stained clothes. Signed Voyiis;u. Early 19th centur)-. 
 
 Lent by Air. W. H. Cope. 
 
 Gold lacquer, with faces in ivory. The Empress Jingo and Takenouchi no Sukune. 
 SigncdXbyvATA. Early 19th century. Lent by Mr. \V. LI. Cope. 
 
 Outer case, gold lacquer, incrusted with ivory and coloured shell. Mask of Tengu. 
 Inner case, fine togidashi. Lent by Air. E. Gilbertson. 
 
 Ground not 
 lacfiuercd. 
 Wood, ivory, &c. 
 
 Incrustation of 
 ivory. 
 
Case XX. 
 
 124 
 
 37. Inro. 
 
 38. Inro. 
 
 39. Inro. 
 
 Inlay of mother-of- 4.0. Inro. 
 pearl. 
 
 41. Inr5, 
 
 Carved lacquer. 42. Inro. 
 
 43. Inro. 
 
 44. Inro. 
 
 45. Inro. 
 
 46. Inro. 
 
 47. Inro. 
 
 48. Inr5. 
 
 49. Inro. 
 
 50. Inro. 
 Engraved design, jj j^ro. 
 
 52. Inro. 
 
 S3- Inro. 
 
 Shunkei-nuri. 54. Inro. 
 
 55- Inro. 
 
 56. Inro. 
 
 Suri-hagaslii . 
 
 57. Inro, 
 
 Gold ground, figures in relief of various coloured lacquer, faces of ivory. The 
 six famous poets (Rok-kasen). Letit by Mr. IV. Harding Smith. 
 
 Carved lacquer in relief on nashiji, with incrustation of mother-of-pearl and ivory. 
 Cock standing on fence. Chinkin-bori risers. 3'i^W(/BakushuhanChohei. 19th century. 
 
 Lent by Mr. E. Gilbertson. 
 
 Lacquer imitating tortoiseshell. Elephant in relief in various coloured lacquers 
 and mother-of-pearl inlay. Signed Hyakuyo. Lent by Mr. E. Gilbertson. 
 
 Black lacquer, with inlay of mother-of-pearl. Thunder God and storm dragon. 
 1 8th century. Lent by Air. H. Virtue Tebbs. 
 
 Black lacquer. Inlay of Haliotis shell and gold (kana-gai). Chrysanthemum. 
 
 I^ent by Mr. E. Gilbertson. 
 
 Tsuishu. Carved pale red lacquer. Chrysanthemums. Netsuke of same material. 
 
 Lent by Mr. E. Gilbertson. 
 
 Tsuishu. Carved pale red lacquer. Subject from Chinese history. The three 
 heroes of Shoku visit Komei in his secluded cottage. L^nt by Mr. E. Gilbertson. 
 
 Tsuishu. Carved dark red lacquer. Flowers on diaper ground. (The names of 
 various medicines still remaining in the cases of the inro.) Lent by Mr. E. Gilbertson. 
 
 Tsuikoku on tsuishu. Chinese subject in black carved lacquer, on a diapered 
 ground of red lacquer. Lent by Mr. E. Gilbertson, 
 
 Guri lacquer in black, red and yellow. Chinese figure in a boat, and a pine tree 
 through the mist. Attributed to Zonsei, i8th century. Lent by Mr. E. Gilbertson. 
 
 Tsuishu enclosing panels, with black lacquer ground. Gold and coloured lacquer 
 in relief and encrustation of metals. Dragon in cloud and kara-shishi on rock. 
 
 Lent by Mr. E. Gilbertson, 
 
 Square. Tsuishu and black lacquer, with dragon in gold lacquer. i8th century. 
 
 Lent by Mr. Wm. C, Alexander. 
 
 Tsuikoku. Carved black lacquer. Gentoku swimming the river. Attributed to 
 Zonsei. End of 17th century. Lent by Mr. E Gilbertson. 
 
 Guri lacquer. The Soma badge below. Lent by Mr. E. Gilbertson. 
 
 Black lacquer, with Chinkin-bori decoration. Cuckoo, peony and swallows. 
 Signed T f^uKKA.]!. 19th century. Lent by Mr. E. Gilbertson. 
 
 Black lacquer, with Chinkin-bori decoration. Lion testing the quality of its cub 
 by casting it down from a rock. i8th century. Lent by Mr. E. Gilbertson. 
 
 Lacquer, imitating shibuichi. Thunder gods making a rain deluge with buckets of 
 
 water. Signed Toyb. 1 8th century. Lent by Mr. E, Gilbertson. 
 
 Dark red (Shunkei) lacquer. Decoration, various forms of the character, Ju (longevity), 
 
 in relief of lighter red. Signed Toyo. Lent by Mr. H. S. Troiver. 
 
 Polished dark red lacquer. Branch of bamboo in black, imitating Chinese ink brush- 
 work (sumi-ye). Inscribed in light red characters, " Toyohiko ye." Painted by Toyohiko. 
 
 Lent by Air. R. Phene Spiers. 
 
 Akita lacquer. Sayagata form. Bamboo frame work, within which the performer 
 walks as if carried, in the " no " dance. Signed Toyo, 60 years old. i8th century. 
 
 Lent by Mr. E. Gilbertson. 
 
 Suri-hagashi lacquer. Decoration, Taka-makiye of various colours, and mokume ; 
 Cock standing on drum. i8th century. Lent by Mr. E. Gilbertson. 
 
125 Case XX. 
 
 58. Inro. Wakasa (or perhaps rather Tsugaru) lacquer. Black panel, with Chinese peach. Lacquer inlay. 
 
 Lacquer inlay of various colours. Signed Nagahide. Lent by Mr. E. Gilberhon. 
 
 59. Inro. Togidashi, gold ground. Decoration, to imitate Chinese ink brushwork (sumi-ye), Togidashi. 
 
 branch of bamboo. Lent by Mr. R. Phene Spiers. 
 
 60. Inro. Togidashi, gold ground. Decoration, to imitate Chinese ink painting (sumi-ye) ; 
 
 falcon on pine-branch. Signed Toy5, after a painting by Hakugyoku Hoin. 
 
 Lent by Mr. E. Gilbertson. 
 
 61. Inro. Togidashi. Black ground, with decoration in gold of various shades. Egrets among 
 
 reeds. Style of Shiomi Masanari. Lent by Mr. H. S. Trower. 
 
 62. Inro. Togidashi. Decoration, gold poudrd, red and other colours ; Raiko meeting the 
 
 Mountain god (from the Shuten-doji myth). Lent by Mt. H S. Trower. 
 
 63. Inro. Togidashi. Decoration, red and gold on black ground ; fuyo flowers (Hibiscus). 
 
 Signed Mitsumasa. L^tit by Mr. E. Gilbertson. 
 
 64. Inro. Togidashi. Ground imitating wood. Decoration, gold lacquer ; nightingale on 
 
 willow. Lent by Mr. E. Gilbertson. 
 
 65. Inro, in outer case. Mokume ground. Decoration, gold togidashi lacquer; branches of Kerria Mokumd. 
 
 (yamabuki). Lent by Mr. E. Gilbertson. 
 
 66. Inro. Mokume in togidashi. Chrysanthemum in gold lacquer in relief, at either end. 
 
 54''«^(^ KoM.\ Kiuhaku. 1 8th century. L^nt by Mr. G. Salting. 
 
 67. Inro. Polished ground, in gold of two shades (perhaps to imitate fish-skin). Badge, 
 
 kiku and butterflies, gold lacquer in relief. Signed Minsetsusai. 
 
 Lent by Mr. R. Phene Spiers. 
 
 68. Inro. Outer case, gyobu lacquer. Inner case, gold and colours in togidashi ; crows and 
 
 forest trees. Lent by Mr. M. Tomkinson. 
 
 69. Inr5. Black ground. Decoration, painted in lacquer, white and red plum blossom. White lacquer. 
 
 1 8th century. Lent by Mr. Wm. C. Alexander. 
 
 70. Inro. Black ground. Decoration, painted in lacquer, white Mandarin ducks and reeds. 
 
 Signed 'K.o^>^.^. Ydxihaku. i8th century. Lent by Mr. AL Tomkinson. 
 
 71. Inro. White ground. Decoration, painted in red, black and gold lacquer. Chinese 
 
 subject. Perhaps 1 7th century. Lent by Mr. Wm. C. Alexander. 
 
 72. Inro. Black lacquer to imitate leather, on carved wood. Decoration, gold and shibu- Lacquer imitating 
 
 ichi lacquer; umbrellas and rustic fence. 1 8th century. Lent by Colonel Goff. and forms'. 
 
 73. Inro. Dark red lacquer to imitate leather, on carved wood. Decoration, black and silver 
 
 lacquer in relief; crows flying before moon. Perhaps 17th century. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 74. Inro. Red, gold and tortoiseshell lacquer, on carved wood. To imitate a tea-jar of pottery 
 
 in case of brocade. 1 8th century. I^nt by Mr. Wm. C. Alexander. 
 
 75. Inro. Polished blue lacquer, to imitate lapis lazuli. Decoration, gold and coloured 
 
 togidashi ; butterflies and chrysanthemum. Lent by Mr. E. Gilbertson. 
 
 1 6. Inro. Lobes of various coloured lacquer. Decoration, gold in relief. Lucky fungus on 
 
 Chinese stand. Early i8th century. L^nt by Mr. R. Phene Spiers. 
 
 77. Inro. In form of cylindrical box. Makiye and mother-of-pearl on nashiji. Autumn scene — 
 
 rice stubble, bird-scare and stag. Attributed to school of Koma. Late 17th century. 
 
 Lent by Mr. Stuart Samuel. 
 
Case XX. 126 
 
 Gold and coloured 78. Inro. Nashiji shading into black. Decoration, gold lacquer in relief; various flowers. 
 
 Itcci 11 cr 
 
 ' ■ School of KoMA. 1 8th century. Lent by Mr. E. Gilbertson. 
 
 79. Inro. Polished black lacquer ground. Decoration, mother-of-pearl, gold and red lacquer 
 
 in relief; dragonflies. Lent by Mr. G. Salting. 
 
 80. Inro. Polished black lacquer ground. Decoration, gold, black lacquer and mother-of-pearl 
 
 in relief ; rustic cottage and plum tree. Lent by Colonel Goff. 
 
 8i. Inro. Polished black lacquer ground. Decoration, gold, silver and various coloured 
 
 lacquers in relief; monkeys dressed in the costumes of the various classes of Japanese 
 
 life. Risers of Wakasa lacquer. Late 18th century. Lent by Mr. Stuart Samuel. 
 
 82. Inro. Polished black lacquer ground. Decoration, gold, silver and mother-of-pearl in 
 
 relief; Mikado's carriage resting under cherry-tree. Lent by Mr. H. S. Trower. 
 
 83. Inro. Polished black lacquer ground ; gold lacquer and mother-of-pearl in relief. Cicada 
 
 on stem of cryptoraeria. Seal (mother-of-pearl) Joka. If by Jokasai, not earlier than 
 the end of i8th centurj', but appears to be older. Lent by Mr. W. Harding Smith. 
 
 84. Inro. Ground, black and gold in togidashi. Decoration, gold in relief; mountain 
 
 landscape and waterfall. 18th century. Le7it by Mr. R. Phene Spiers. 
 
 85. Inro. Black and gold in togidashi. Decoration, gold in relief; shed for sheltering man 
 
 who watches the rice-fields, bird-scare and scarecrow. 1 8th century. Lent by Colonel Goff. 
 
 86. Inro. Togidashi ground. Decoration, gold lacquer in relief; Yodo Castle and river. 
 
 1 8 th century. Lent by Colonel Goff. 
 
 87. Inro. Polished gold ground of various shades. Decoration, gold, black and red, in low 
 
 relief; Benten riding through clouds on a dragon. Signed Y^^'ozTva. 19th century. 
 
 L^nt by Mr. Harding Smith. 
 
 88. Inro. Polished gold ground. Decoration, medallions with birds and flowers in low relief. 
 
 Signed Kajikawa. 19th century. Lent by Mr. Ji. Phene Spiers. 
 
 89. Inro. Polished gold ground. Decoration, gold, red and black lacquer in low relief; cock 
 
 standing on drum. Signed Kakosai. Early 19th century. 
 
 L^nt by Mr. R. Phene Spiers. 
 
 90. Inro. Polished gold ground. Decoration, gold and coloured lacquer in low relief; Howo 
 
 standing on Paulownia tree. Inscribed " After a design by Hakugyoku Hoin." Early 
 19th century. Lent by Mr. R. Pheni Spiers. 
 
 91. Inro. Taka-makiye, with gyobu. Cranes and fir tree. Early 19th century. Lent by Colonel Goff. 
 
 92. Inro. Ground nashiji and gold of various shades, poudre. Decoration, gold lacquer in low 
 
 relief, gold foil, and various coloured lacquers ; three cranes. 
 
 Lent by Mr. IV. Harding Smith. 
 
 93. Inr5. Ground gold of various shades, poudre (kinfun-ji). Decoration, gold lacquer in low 
 
 relief, gold foil, and various coloured lacquers ; group of cranes (sem-ba-zuru). 
 1 8th century. Lent by Mr. Harding Smith. 
 
 94. Inro. Gold poudrd ground (kinfun-ji). Decoration, gold lacquer in low relief, gold of 
 
 various shades, red and black ; herd of horses. 1 8th century. 
 
 Lent by Mr. W. Harding Smith. 
 
 95. Inro. Silver poudr^ ground (ginfun-ji). Decoration, gold and silver lacquer in low relief; 
 
 butterflies and ferns. i8th century. Lent by Mr. E. Gilbertson. 
 
 96. Inro. Dark silver poudre ground (ginfun-ji). Decoration, gold and mother-of-pearl ; 
 
 flowers and butterflies. i8th century. Lent by Mr. Wm. C. Alexander. 
 
1 2 7 Case XX. 
 
 ► 97. Inro. Dark poudr^ ground (ginfun-ji), to imitate shibuichi. Decoration, in low relief, 
 
 gold and various coloured lacquers; cock and bamboo. i8th century. 
 
 Lent by Colonel Goff. 
 j 98. Inro. Lacquer ground to imitate silver. Decoration, low relief, silver and black lacquer, 
 
 with gold-leaf and gyobu. Hawk on perch, with hood and tassel. Described as Sendai 
 lacquer. Signed Shugyokusai. Lent by Mr. E. Gilbertson. 
 
 The following" objects ape not in Cases. 
 
 Between Cases III. and IV. 
 
 Panel of hamtnered silver, incrusted with shakudo, shibuichi, red copper and 
 gold. Two swimming carp, in high relief, with waterweeds. The margin of 
 flat inlay ; birds and flowers. Seal, Masao. 
 
 Lent by Mr. S. Bing. 
 
 Lacquered Panel (Gaku). The approach to Enoshima, with Fuji-san in back- 
 ground. The sky of plain gold lacquer, the sea, brownish-black lacquer 
 poudr^ with gold ; the landscape, gold and silver lacquer, chiefly in low relief. 
 Signed Taishin, with seal. Taishin was a pupil of Zeshin. 19th century. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 Over Case IV. 
 
 Okimono. Bronze casting. Fantastic lion (kara-shishi) playing with the tassel of 
 a hollow ball. 
 
 Lent by Mr. Alfred Cock. 
 
 Two WIDE-LIPPED BRONZE FLOWER Vases, one circular and the other square- 
 mouthed. 
 
 Lent by Mr. Alfred Parsons. 
 
 Hl-BACHI. Bronze brazier, imitating wicker-work. 
 
 Lent by Mr. F. Yeats Edwards. 
 
 Over Case V, 
 
 Seated Figure of a Buddhist Priest. Bronze. 
 
 Lent by Mr. C. H. Read. 
 
128 
 
 In Reeess on either side of Case V. 
 
 ShoKU-DAI. Tall candlestick of iron, with flat inlay of silver (hira-zogan ware). 
 Fans and conventional waves. Snuffer in shape of a fan. (For small com- 
 panion candlestick, see Case VI., 43.) 
 
 Lent by Mr. J. M. Swan. 
 
 Kot£. Two sleeves of chain-mail with medallions of iron, inlaid with silver (zogan). 
 
 The semi-gauntlet (tetsugai) similarly inlaid. Badge, cross within broken 
 
 circle. 
 
 Lent by Mr. J. M. Swan. 
 
 Andon. Lantern for use in sleeping-room. Brass pierced work, lined with paper. 
 
 Lent by Mr. Frank Dillon. 
 
 Stand in front of Case V. 
 
 Dragon. Bronze. 5fa/, beneath jaw, Toryusai Sadamune. 19th century. 
 
 Lent by Mr. Win. Anderson. 
 
 Between Cases VI. and XV. 
 
 Tray. Black polished lacquer, the margin lined with pewter. Decoration in high 
 
 relief (of unknown material), covered with white, dark green, and gold 
 
 lacquer. Flower, leaf, and seed-pod of the Sacred Lotus. On the leaf, 
 
 a green frog (pottery incrustation). Seal, Kwan. By Ritsu-5. Early 
 
 1 8th century. 
 
 Lent by Mr. Win. C. Alexander. 
 
 HasHIRA-KAKUSHI. Long strip of wood for hanging on post. Decoration, a 
 composition covered with coloured lacquers, lead, pottery and mother-of- 
 pearl. An itinerant .showman with marionette-box ; from his sleeve issues a 
 snake-like cloud, in the midst of which appears a vision ; (as in the case of 
 the miracles of the Rishi) ; the ghost of the Taira clan attacking the ship of 
 Yoshitsune after the battle of Dan-no-ura. Seal, of pottery, Ritsu-6. 
 
 Early i8th century. 
 
 Lent by Mr. Win. C. Alexander. 
 
 Panel (Gaku). Polished black lacquer, with gold togidashi, gold lacquer in low 
 relief, and incrustation of mother-of-pearl. Lotus flower and leaves, a carp 
 and flowing water. Signed Taishin. (Compare panel with view of Enoshima.) 
 
 Lent by Mr. Win. C. Alexander. 
 
129 
 
 Small Case. Containing a Collection of Specimens illustrative of the preparation 
 of the associated metals known as Mokum^ (wood -grain), Misu-nagashi 
 (running water), &c. The nine pieces in the middle of the Case are 
 European imitations of Japanese work, and were made by Messrs. 
 Tiffany & Co., of New York, and by the exhibitor. 
 
 Lent by Mr, VVm. C- Roberts-Austen, 
 
 Hl-BACIII. Large brazier of yellow bronze (sentoku), with incrustation of shakudo 
 
 and gold. The open-work cover represents cranes flying among clouds. 
 
 Cranes in relief on the sides. 
 
 Lent by Mr. J, M. Swan. 
 
 Over Chimney-Piece. 
 
 Plaque (Gaku). Polished brownish-black lacquer ground, passing into plain gold. 
 Decoration, in high and low relief, gold and silver lacquer, with fine mother- 
 of-pearl mosaic and a little red lacquer. A picnic party, with a man dancing, 
 ladies in old costume. Spring flowers, rocks and water. 17th century. 
 
 From the Hamilton Palace sale. 
 
 Lent by Mr. G. Salting. 
 
 Plaque (Gaku). Rough wood, showing knots and grain in relief, partly covered 
 with black, red and yellow lacquer, with mother-of-pearl incrustation. 
 Autumn maple, treated in the style of Korin. 19th century. 
 
 Lent by Mr. Wm. C. Alexander. 
 
 Helmets, of various shapes. Hammered iron with repoussd decoration. 
 
 Lent by Mr. Wm. C. Alexander, 
 Mr. T. IV, Cutler. 
 
 On Mantel-Shelf. 
 
 Skeleton. Silver. Signed ShoAMI, Seal Katsuyoshi : living metal-worker. 
 
 Lent by Mr. Alfred Cock. 
 
 Pair of Flower Vases. Wrought iron. Damascene work in gold and silver. 
 Decoration, various diapers and medallions (hira-zogan), also design in 
 high relief (taka-zogan) of Chinese boys playing with balls. Lnscribed, 
 Made by KoMAI, of Kyoto. 
 
 Lent by Mr. M. Tomkinson. 
 
I30 
 
 Between Cases XVI. and XVII. 
 
 Two Plaques, of black lacquer. Decorated with gold and dark coloured lacquer, 
 
 in low relief. On the black ground a further decoration of leaves and tree 
 
 stem is faintly indicated by change in the degree of polish of the lacquer. 
 
 Autumn flowers, the moon appearing behind the trunk of a tree. Style of 
 
 Zeshin. 19th century. 
 
 Lent by Mr. J. M. Swan. 
 
 Tray. Modern Zonsei lacquer. (Compare, for an earlier specimen, Case XVIII., 8.) 
 
 Ground engraved in diapers. Decoration, of Chinese flowers and birds, in 
 
 olive green, red and yellow lacquer. 
 
 Lent by Mr. Frank Dillon. 
 
 Over Cases XVII. and XVIII. 
 
 A Pair of tall Pricket Candlesticks (Shoku-dai), with snuff-box and snuffers. 
 Bronze open work, with dragon among conventional clouds. 
 
 Lettt by Sir Trevor Laivrence. 
 
 Flower Vase, in shape imitating a bamboo stem. Bronze, with purple-red patina. 
 Chased medallions of cherry-blossom. 
 
 Lent by Mr. Win. C. Alexander. 
 
 Okimono. Bronze casting. Buddhist emblems. A long-tailed tortoise (mino- 
 
 game) carries on its back an upright sword, with a handle shaped like a 
 
 vagra, round which a dragon is coiled. 
 
 Lent by 3fr, Alfred Cock. 
 
 Flower Vase. Bronze. The rim prolonged to form handles. Spiral decoration. 
 
 Lent by Mr. Edward Dillon. 
 
 Plate. Bronze ground incrusted with various metals in high relief; hawk, sparrows 
 and blossom. The margin decorated with a curious Chinese key pattern of 
 silver (gin-kise) on bronze ground. The plate itself, and especially the 
 margin, is old, and perhaps Chinese, the incrustation modern Japanese. 
 
 Lent by Mr. W. Harding Smith. 
 
 Flower Vase on Stand. Bronze. The bowl decorated with conventional wave 
 pattern (sei-gai-nami), the stand representing waves. Signed Izan. 
 
 Lent by Mr. R. Pheni Spiers. 
 
i3t 
 
 Candlestick. Buddhist. Bronze. Two Chinese dogs (koma-inu) support a ball 
 from which issues a stem, round which a dragon is entwined. 
 
 Lent by Mr. Alfred Cock. 
 
 Flower Vase. Bronze, with handles of dragon's head with protruding tongue. 
 
 Lent by Mr. Frank Dillon. 
 
 The Vases and other objects of Metal over Cases I., II., III., VII., 
 XIII., XV., XVI., XIX. and XX., have not been fully Catalog^ued. 
 
 They include :— 
 
 Carved Wood Stand, from a Buddhist shrine. Black lacquer, gilt and coloured. 
 17th century, or earlier. 
 
 Lent by Colonel Goff. 
 
 Shachiiioko. Dragon-headed carp. Silver, partly gilt, and partly covered with a 
 blue or green translucent enamel. 
 
 Lent by Mr. S. Bing. 
 
 Pricket Candlestick. Bronze. Lotus flower and dragon. From the monastery 
 
 of Koya-san. 
 
 Lent by Mr. Alfred Cock. 
 
 Bronze OkimonO. A crane fishing or drinking on the water's edge. 
 
 Lent by Sir Trevor Lazvrence. 
 
 Temple Lantern. Hammered copper, gilt. Date of the 9th year of Kyoho (1724). 
 From the monastery of Koya-san. 
 
 Lent by Mr. Edward Dillon. 
 
 Bronze Vase, with curved neck, ending in the head of a goose. 
 
 Lent by Mr. Stuart Samuel. 
 
 Flower Vases. A pair. A stem of bamboo, carved, with decoration of gold 
 lacquer and various incrustations, on a bronze stand in the form of a 
 flowering branch of plum. 
 
 Lent by Mr. Wm. C. Alexander. 
 
132 
 Okimono. Bronze. Hotei riding on a buffalo. 
 
 Lent by Sir Henry Howorth. 
 
 Water-vessel, drum shaped, of yellow bronze, repoussd Comic subject (Tale of 
 
 the Tongue-cut Sparrow). 
 
 Lent by Mr. Wm. C. Alexander. 
 
 Okimono. Bronze. Crow resting on the stump of a tree, up which two cicadas are 
 crawling. 
 
 Lent by Mr. Lawrence Harrison. 
 
^33 
 
 GLOSSARY of WORDS and TERMS USED in the CATALOGUE. 
 
 I 
 
 Ajisai. A species of Hydrangea 
 
 Akasaka tsuba. Sword hilts in pierced work, 
 so named from Akasaka, a district in 
 Tokyo, where they were originally made 
 
 Aki-no-nanakusa. Seven autumn flowers, 
 generally the Chrysanthemum, Patrinia 
 sp., Eulalia sp., Platycodon grandiflorum, 
 Aster, Eupatorium sp., and Lespedeza sp. 
 
 Ama-inu. One of the conventional figures 
 of a dog or lion in front of Shinto 
 temples 
 
 Ama-no-hagoromo. A fairy's cloak of 
 feathers 
 
 Amida. Sansk., Amitabha. A Buddha 
 
 Ao-gai. Mother-of-pearl 
 
 Ao-gai zaiku. Mother-of-pearl inlaid work 
 
 Ashikaga. A line of Shoguns (1335 to 1573 
 
 A.D.) 
 
 AwabL The ear-shell. Haliotis gigantea 
 
 Badarai. A flat vessel, generally of bronze, 
 
 used for arrangements of flowers and 
 
 plants 
 Bai. The flowering plum. Prunus mume 
 Ban-gi. A kind of gong, consisting of a flat 
 
 piece of wood, which is struck with a 
 
 mallet ; sometimes carved in the form 
 
 of a fish 
 Bekk5. Tortoiseshell 
 Bekko-zaiku. Tortoiseshell work 
 Benten. One of the seven gods of Good 
 
 Fortune 
 Bento-bako. A luncheon box 
 Benzai or Benzai-ten. See Benten 
 Bishamon. One of the seven gods of Good 
 
 Fortune 
 
 Biwa. A four-stringed lute 
 
 Biwa. The loquat. Eriobotrya japonica 
 
 Biwa. The lake in the province of Omi 
 
 Bon. A tray 
 
 Bori. See Ilori 
 
 Botan. A peony. Paeonia moutan 
 
 Bunko. A box for manuscripts 
 
 Butsu-gan. A case for Buddhist divinities 
 
 Cha. Tea 
 
 Cha-gama, A vessel used for boiling water 
 
 at the " Tea Ceremonies " 
 Cha-ire. A tea-caddy 
 Cha-no-yu. Ceremonial tea drinking. The 
 
 " Tea Ceremonies " 
 Cha-taku. A stand for a tea-cup 
 Cha-tsubo. A tea jar 
 Cha-wan. A tea-cup 
 Chidori. Small birds that fly about the 
 
 shore. Any sand-pipers, plovers, or 
 
 dotterels 
 Chiku. The bamboo 
 Chinkin-bori. Lacquer in which the designs 
 
 are engraved in fine lines, which are 
 
 subsequently coated with gold powder 
 Choji-buro. A perfume vaporizer 
 Choku. Small cup for drinking sak6. A 
 
 wine cup 
 Choshi. A kettle or jug for heating or 
 
 pouring sakd 
 
 Daikoku. One of the seven gods of Good 
 
 Fortune 
 Daikon. A large kind of radish. Raphanus 
 
 sativus 
 
134 
 
 Daimyo, or Daimio. A feudal or military 
 noble. Daimio-Iac, an English term 
 applied to lacquer articles such as 
 cabinets, articles for toilet use, &c., 
 supposed to have been made for a Diamio, 
 and bearing a badge (mon). The deco- 
 ration generally is in arabesques or diapers 
 in gold lacquer on a black ground 
 
 Dai-sho. The two swords worn by a Samurai 
 
 Daruma. Sansk., Dharma 
 
 Do-hachi. A Buddhist bowl-shaped gong 
 
 Doji. The fifteen sons of Benten. 
 
 Dokei. A kind of Buddhist gong 
 
 Ebisu. One of the seven gods of Good 
 Fortune 
 
 Ema. A picture hung in Shint5 temples as a 
 
 votive offering 
 En-gawa. A verandah 
 Enoki. The name of a tree, Celtis sinensis 
 
 Fu-bako. A box used for carrying a letter 
 Fuchi. A metal ring encircling the base of 
 
 the hilt of a sword 
 Fuda-zutsu. A box for receiving the counters 
 
 in the Perfume Game 
 Fuji. The wistaria 
 Fuku-roku-ju. One of the seven gods of 
 
 Good Fortune 
 Furi-tsuzumi. Two small drums fixed to a 
 
 staff 
 Futa-mono. A covered bowl 
 Futen. The god of the Winds 
 Fuye. A flute 
 Fuye-zutsu. A flute case 
 
 Gaku. A framed tablet containing an in- 
 scription or picture 
 
 Genji-Monogatari. A Japanese romance of 
 the loth century 
 
 Gim-ban. Mica slips used for burning 
 
 incense in the Perfume Game 
 Gim-basami. Silver forceps used in the 
 
 Perfume Game 
 Gin. Silver 
 Gin-dai. A tray on which the gim-ban were 
 
 placed to cool 
 Gin-kis^. Silver in thin sheets affixed to 
 
 the roughened surface of other metals 
 
 by pressure or hammering whilst hot. 
 
 Azziminia work 
 Gin-pun. Silver powder 
 Giobu. See Gyobu 
 Gofun. Levigated oyster shells 
 Go-gusoku. The five articles placed on the 
 
 altar in front of the shrine in a Buddhist 
 
 temple. A pair of candlesticks, a pair 
 
 of flower vases, and an incense burner 
 Go-hei. A bundle of strips of white paper 
 
 peculiarly cut, hanging from a wand. A 
 
 Shinto emblem 
 Go-san-kiri. The Paulownia badge, in which 
 
 the middle spike has five, and each of 
 
 the side spikes three, flowers 
 Go-sekku. The five festivals — 7th January, 
 
 3rd March, 5th May, 7th July, 9th 
 
 September 
 Guri. Lacquer in several layers of two or 
 
 more colours, deeply carved 
 Gusoku. Complete armour 
 Gyobu. Lacquer decorated with small cut 
 
 pieces of gold leaf, each inlaid singly 
 
 in a more or less regular manner ' 
 Gyoku. The sacred gem, one of the three 
 
 mythical precious things of the Japanese 
 
 Empire. A crystal ball 
 
 H 
 
 Habaki. A piece of metal enclosing the 
 upper part of a sword blade, below the 
 seppa and tsuba 
 
 Ha-b6ki. A feather brush 
 
 Hachi. A plate 
 
135 
 
 Hachi wari. An iron sword-shaped weapon. 
 A helmet-breaker 
 
 Hagi. The name of a flowering shrub. 
 Lespedeza sp, 
 
 Hai-osaye. A spatula for arranging the ashes 
 in braziers 
 
 Hakkei. Eight celebrated views. See Omi 
 Hakkei 
 
 Hama-guri. A bivalve 
 
 Hana-ike. A flower vase 
 
 Hara-kiri. See Seppuku 
 
 Hashika-bori. Carving in low relief. A 
 kind of Tsuishu or Tsuikoku 
 
 Hato-zuye. A staff or cane with a dove at 
 its upper end, used by an aged person 
 
 Heian. A poetical name for Kyoto 
 
 Hibachi. A brazier 
 
 Hibashi. Two small metal rods used as fire- 
 tongs 
 
 Hichiriki. A flageolet 
 
 Higashi-yama Jidai. A period of revival 
 in art, during the time of Ashikaga 
 Yoshimasa, who was Shogun from 1449 
 
 to 1472 A.D. 
 
 Hi-ird. A vessel for holding burning charcoal 
 Hiki-te. A handle countersunk in the sliding 
 
 screens or doors of a Japanese house 
 Hina. Small images used at the girls' 
 
 annual festival (3rd March) 
 Hinoki. The name of a tree, Chamaecyparis 
 
 obtusa 
 Hi-no-maru. The disc of the sun, red on a 
 
 white ground. The national flag of Japan 
 Hira-makiye. Makiye with a flat surface 
 Hira-zogan. Damascene work in which the 
 
 metals do not project above the surface 
 
 in which they are inlaid 
 Hiroshima-zaiku. Hammered work, generally 
 
 in copper, with a dark patina, ornamented 
 
 with mounts of repoussd work and silver 
 
 or pewter Azziminia 
 Hiyomon. See Hyomon 
 Hogen. A title sometimes conferred on an 
 
 artist 
 
 Hoin. A title sometimes conferred on an 
 
 artist 
 Hojo. A family who were the de facto rulers 
 
 of Japan, with Kamakura as their capital, 
 
 from 1199 to 1333 A.D. 
 Hoju. See Gyoku 
 Hokai. A box for cooked rice 
 Hon. A book 
 Ho-no-ki. The name of a tree. Magnolia 
 
 hypoleuca 
 H6-6. A phoenix 
 Hora. A pilgrim's couch. Formerly used in 
 
 war 
 Hori. Carving or chasing generally 
 Hori-age. Sculpture in relief 
 Hotei. One of the seven gods of Good 
 
 Fortune 
 Hototogisu. A kind of cuckoo 
 Howo. See H6-6 
 Hyomon. Lacquer in which thin plates of 
 
 gold are inlaid 
 Hyotan. A sake bottle made from a gourd. 
 A gourd, Lagenaria vulgaris 
 
 Icho. The name of a tree, Gingko biloba 
 
 Iko. A stand on which clothes are hung 
 
 In. A seal 
 
 Inro. A nest of small boxes, slung from the 
 belt, for holding medicines 
 
 Inu-hariko. A toy figure in the form of a 
 dog used at the Hina Festival 
 
 Iro-tsuke. Stained or coloured 
 
 Iru. Cast, as " Seimin iru " cast by Seimin 
 
 Ise-ebi. A marine crayfish, Palinurus burgeri 
 
 Ishi-rae. A surface in imitation of the grain 
 of stone 
 
 Ishi-me. A variety of gyobu in which the 
 pieces of gold foil are arranged like 
 Japanese stone-work 
 
 Iwa-taka. A rock-falcon 
 
 Jikiro. A covered vessel divided into com- 
 partments for condiments 
 
136 
 
 Jin-gasa. A flat helmet 
 
 Ji-no-ko. See Tonoko 
 
 Jisshuko-bako. A box for the implements of 
 
 the Perfume Game 
 Jo. See Takasago 
 j6-bako. A letter box 
 Joken-in Jidai. The period of the Shogun 
 
 Tsunayoshi (i68i-i7o8),his posthumous 
 
 name being J6ken-in 
 Ju. Longevity 
 Ju-bako. A nest of boxes 
 Ju-kogo. A small nest of boxes for fragrant 
 
 woods, &c , used in the Perfume Game 
 Ju-ni-shi. The twelve signs of the Zodiac, 
 
 and of Japanese chronology. The rat, 
 
 bull, tiger, hare, dragon, serpent, horse, 
 
 goat, monkey, cock, dog and boar 
 
 Kabane. See Sei 
 
 Kabuto. A Japanese helmet 
 
 Kabura. A turnip 
 
 Kagami. A mirror 
 
 Kagami-buta. The metal plate of a manju- 
 
 netsuke 
 Kago. A basket 
 Kago. A palanquin 
 Kagura. A sacred dance, also a pantomimic 
 
 dance performed by strolling players 
 Kai-awas^. A game played with bivalve-shells 
 Kai-okd. A box for holding the shells used 
 
 in the Shell Game 
 Kak^-hanaikd. A hanging flower vase 
 Kaki. A persimmon. The Diaspyros kaki 
 Kakihan. A written seal. Corresponds to 
 
 a monogram 
 Kakko. An ancient form of drum 
 Kamakura-bori. Wood carved and coated 
 with red lacquer over a ground of black 
 lacquer 
 Kamakiri. A mantis 
 
 Kamd A tortoise, Emys japonica 
 
 Kami. A Shinto divinity 
 
 Kami. An honorific title sometimes con- 
 ferred on artists 
 
 Kaminari. Thunder 
 
 Kaminari no Kami. See Rai-jin 
 
 Kana-mono. A general name for metal 
 articles, also used for the ornamental 
 mounts of tobacco pouches 
 
 Kan-tokuri. A bottle in which sak^ is heated 
 
 Kan-zashi. A divided hair-pin 
 
 Kara-kan^. Bronze composed of copper, 
 lead and tin 
 
 Kara-ko. Chinese boys 
 
 Kara-kusa. Arabesques 
 
 Kara-shishi. The conventional lion of the 
 Chinese 
 
 Karei. A fish, a kind of flounder 
 
 Kashira. The metal ornament on the head 
 of a sword hilt 
 
 Kata-kiri-bori. Designs cut in relief and chased 
 
 Katana. A sword 
 
 Ke-bori. Chasing in fine lines 
 
 Ken. A straight two-edged sword 
 
 Kesa-bako. A box for the scarfs worn by 
 Buddhist priests 
 
 Kiku. The chrysanthemum 
 
 Kiku-sui. A heraldic representation of a 
 chrysanthemum flower issuing from a 
 stream of water. The badge of Kusunoki 
 
 Kin. Gold 
 
 Kin-gyo. A species of gold-fish 
 
 Kin-ji. A gold ground produced by dusting 
 powdered gold over the surface of the 
 wet lacquer 
 Kin-kisd. Gold in thin sheets affixed to the 
 roughened surface of other metals by 
 pressure or hammering whilst hot. Azzi- 
 minia work 
 Kin-makiye. A general name for gold- 
 picture lacquer in which the ground or 
 design is produced by repeated applica- 
 tions of lacquer and powdered gold 
 Kin-mekki. Gilt 
 Kin-pun. Gold powder 
 
137 
 
 Kin-pun-ji or Kin-fun-ji. A lacquer ground 
 
 with gold poudr^ 
 Kintoki. The boy of herculean strength, 
 
 usually represented with a woodman's 
 
 axe 
 Kiri. The Paulownia imperialis 
 Kiri-kane. Small square pieces of gold foil 
 
 used for gyobu 
 Kirin. One of the four fabulous creatures of 
 
 the Chinese. Generally translated 
 
 unicorn 
 Kiroku-suzuri. A writing-box used in the 
 
 Perfume Game 
 Kiseru. A tobacco pipe 
 Kitsune. A fox 
 Ki-urushi. Raw lacquer 
 Kizami-ban. A wooden block on which 
 
 woods are cut for use as incense 
 Ko. Small 
 
 K6. Incense, perfume 
 K6-awase. The Game of Perfumes 
 Ko-bako. A small box 
 K5-bako. A perfume box 
 Ko-ban. A board ruled in squares. Used 
 
 in the Perfume Game 
 Ko-bashi. " Chopsticks " for use with 
 
 incense 
 Ko-bon. A small tray 
 Ko-fuda. The counters used in the Perfume 
 
 Game 
 K6-fuda-bako. A box for the Ko fuda 
 Ko-dansu. A small cabinet with drawers 
 
 and shelves 
 Ko-dogu. The implements of the Perfume 
 
 Game 
 Kogai. A straight hair-pin. A kind of 
 
 skewer carried on one side of the sword 
 
 scabbard 
 Ko-gatana. A small knife 
 Ko-go. A perfume box 
 Koi. A carp. Cyprinus carpio 
 Kojiri. The metal ornament on the lower 
 
 extremity of a scabbard 
 Kokwa-ryokuyo. A variety of guri, with red 
 
 flowers and green leaves in low relief 
 
 Ko-nokogiri. A small saw used in the Perfume 
 Game 
 
 Ko-no-zu. Fifty-two symbols, consisting of 
 combinations of five perpendicular and 
 one or more horizontal lines, based 
 probably on the eight trigrams of the 
 Chinese, sometimes used in the Perfunie- 
 Game 
 
 Koro. An incense burner 
 
 Ko-saji. A small spoon used for incense 
 
 Kotd. A defensive sleeve, generally of chain 
 armour 
 
 Koto A horizontal lyre with thirteen strings 
 
 Ko-tsutsumi. Wrappers containing packets 
 of incense for the Perfume Game 
 
 Ko-zuchi. A small mallet used in the Perfume 
 Game 
 
 Kozuka. A small knife, carried on one side 
 of the sword scabbard. The name is 
 frequently used in Europe for the handle 
 only 
 
 Kuge. A noble of the Imperial court 
 
 Kuri-kata. The cleat on a scabbard, through 
 which the cord (sageo) passes 
 
 Kuruma. A waggon 
 
 Kusu-dama. A ball of artificial flowers, made 
 of paper of five different colours, hung 
 up as a charm on the birthday festival of 
 the boys (5th May) 
 
 Kusuri-saji. A medicine spoon 
 
 Kwan-on. Sansk., Avalokitesvara. The God- 
 dess of Mercy 
 
 Kwashi-bako. A sweetmeat box 
 
 M 
 
 Makiye. Picture lacquer. A general name 
 
 for lacquer work bearing pictorial or other 
 
 designs 
 Mamori. A charm 
 Mamori-bukuro. A bag for charms 
 Mamushi. An adder. Trigono-cephalus 
 
 Blomhoffi 
 Manji. The svastika. A Chinese sign for 
 
 10,000 
 
138 
 
 Manji-kuzushi ) A key or fret pattern based 
 
 Manji-tsunagi i on the svastika 
 
 Manju. A small flattened circular cake of 
 
 confectionery enclosed in a thin layer of 
 
 rice paste 
 Manju-netsuke. A netsuke in the form of a 
 
 " manju " 
 Matsuri. A festival 
 Mawari-koro. An incense burner in the form 
 
 of a ball, in which the cup for the incense 
 
 is supported on a universal joint or gim- 
 bals 
 Maze-gane. A metallic alloy 
 Medaka. A small river fish 
 Me-kugi. A rivet. The pin by which the 
 
 hilt of a sword is secured to the tang of 
 
 the blade 
 Mem-p6. A defensive mask. A vizor 
 Mem-bako. A mask box 
 Men. A mask 
 Menuki. Small ornaments on each side of a 
 
 sword-hilt 
 Mino-gamd. A semi-mythical water-tortoise 
 
 represented with long hairy tail-like 
 
 appendages 
 Misu. A hanging blind made of thin strips 
 
 of bamboo 
 Mitsu-tomoye. A heraldic badge formed of 
 
 three comma-shaped figures arranged in 
 
 a circle. Generally used as a symbol of 
 
 good luck 
 Miya. A Shinto temple 
 Mizuhiki. Red, white and gilt cord, made 
 
 of paper, used for lying presents 
 Mizu-ird. A water-vessel 
 Mizu-nagashi. A term applied to metals 
 
 combined in a confused manner to 
 
 represent eddies in water 
 Mizu-sashi. A vessel for holding water 
 Mochi. A cake of glutinous rice eaten at the 
 
 New Year 
 Mokumd. Wood-grain. A name applied to 
 
 a combination of metals and to lacquer 
 
 when worked to represent the grain of 
 
 wood 
 
 Momotaro. The hero of the fairy tale " The 
 
 Peachling " 
 Mon. An heraldic badge 
 Mumd. The flowering plum. Prunus mume 
 
 N 
 
 Nabd. A pot in which rice is boiled 
 Nanako-ji. A surface in metal work in imita- 
 tion of fish-roe 
 Nana-kusa. See Aki-no-nanakusa 
 Nanori-gami. Folded sheets of paper on 
 
 which the names of the players are 
 
 written in the Perfume Game 
 Nanten. The Nandina domestica 
 Nashi-ji. Avanturine lacquer. Lacquer in 
 
 which gold foil in coarse powder, or in 
 
 small pieces of irregular forms is more or 
 
 less thickly scattered 
 Nashiji-hita makiye. Lacquer in which the 
 
 avanturine ground extends over the 
 
 entire surface 
 Nasubi. The brinjal or egg plant. Solanum 
 
 melongena 
 Natsume. The fruit of the Zizyphus vulgaris. 
 
 A tea jar of the form of this fruit 
 Nengo. An epoch or period of years in 
 
 Japanese chronology 
 Netsuke. A carved toggle used for sus- 
 pending the tobacco pouch or inro from 
 
 the belt 
 Nijushi-ko. The twenty-four Chinese Tales 
 
 of Filial Piety 
 Ni-6. The two figures placed at the sides of 
 
 the gateways of Buddhist temples 
 Ni-wo. See Ni-6 
 No. A ceremonial play 
 Nobori. A kind of flag 
 Nomi. A chisel 
 Noshi. An ornamental folded paper which 
 
 accompanies a present 
 Nuno-me-zogan. Damascene work in meshes 
 Nuri. A general term for lacquer. Exs. : — 
 
 Wakasa-nuri, Wakasa lacquer. Nuri- 
 
 mono, lacquer articles 
 
139 
 
 Nuri-tatd. Painting or coating with lacquer 
 without subsequent polishing 
 
 Nuye. A mythical creature, with the head 
 of a monkey, a tiger's paws and a snake- 
 like tail 
 
 Nyoi. A Buddhist sceptre. Chinese, Joi 
 
 Ogi. A folding fan 
 
 Ojime. A slide, generally in the form of a 
 bead, on the suspending strings of a 
 tobacco pouch or an inro 
 Okam^. See Uzumd 
 Oki-guchi. The silver or pewter bindings on 
 
 the rims or margins of lacquer boxes 
 Oki-mono. Ornaments generally. Articles 
 of metal, ivory, lacquer, &c., made 
 simply for ornamental use 
 Omi Hakkei. The eight famous scenes of 
 lake Biwa in the province of Omi 
 
 The autumn moon seen from Ishiyama 
 The evening snow on mount Hira 
 The evening glory at Seta 
 The temple Miidera with its evening 
 
 bell 
 The boats sailing from Yabase 
 A bright sky with a breeze at Awazu 
 Evening rain at Karasaki 
 Katata with the wild geese alighting 
 Onaga-dori. A Chinese bird with long tail 
 
 feathers 
 Oni. A demon 
 Ori-suye. Small folded bags of gilt paper for 
 
 the incense used in the Perfume Game 
 Oshi-dori. Mandarin duck. Aix galericulata 
 O-teki. A flute 
 Oya-bone. The outer ribs of a fan 
 
 Raden. Mosaic work in mother-of-pearl 
 Raijin. The thunder god 
 Rai-mon. The Chinese key pattern, supposed 
 to resemble lightning 
 
 Rakan. Sansk., Arhat. Disciples of Sakyamuni 
 Reishi. A hard species of fungus, emblematic 
 
 of longevity 
 Rimbo. Sansk., Chakra. The Buddhist 
 
 " Wheel of the Law " 
 Ryoshi-bunko. A box for manuscripts 
 
 Sabiko. A mixture of powdered burnt clay 
 and lacquer used in forming the parts in 
 relief in taka-makiye 
 
 Sag(f-ju. A picnic case 
 
 Sage-o. The cord which is attached to the 
 sword sheath 
 
 Sagi. An egret 
 
 Saihai. A general's baton 
 
 Saiku. Work. Exs : — Bekko-saiku, tortoise- 
 shell work. Kane-zaiku, metal work 
 
 Saka-zuki. A shallow sake cup. A wine cup 
 
 Sakaki. The Cleyera japonica 
 
 Sake. A fermented liquor made from rice. 
 Sometimes translated wine 
 
 Sakura. A flowering cherry. Prunus pseudo- 
 cerasus 
 
 Sambaso. A kind of ceremonial dance 
 
 Sambo. A stand on which offerings are 
 presented 
 
 Same-gawa-nuri. Shark-skin lacquer. A 
 kind of lacquer work made by cementing 
 the skin of a species of Rhinobatus to 
 the wood, rubbing down the uneven 
 surface, filling up the hollows with 
 " sabiko " and covering with lacquer 
 
 Samurai. A retainer of a daimyo entitled to 
 wear two swords 
 
 San-gusoku. Three articles placed on the 
 altar in front of a Buddhist shrine — a 
 candlestick, flower-vase, and incense 
 burner 
 
 Sankirai. The Smilax pseudo-china 
 
 Sawari. White alloys of copper, such as 
 speculum metal 
 
 Sei. The clan, or family name of a person 
 
 Sei-d5. A bronze of a green tint 
 
I40 
 
 Sei-gai-nami. A pattern in which waves are 
 
 represented by concentric segments of 
 
 circles 
 Sekku See Go-sekku 
 Seniba-zuru. A thousand cranes 
 Sembiki-zaru. A thousand monkeys 
 Semi. A cicada 
 
 Sennin. Sansk., Rishi, a mountain spirit 
 Sentoku. A yellow bronze composed of 
 
 copper, zinc and tin 
 Seppa. Thin plates of metal immediately 
 
 above and below a tsuba 
 Seppuku. Ceremonial self-disembowelment 
 Seto. The place where a hard-burnt brown 
 
 glazed pottery was first made 
 Shachihoko. A dolphin conventionally 
 
 represented, generally forming the orna- 
 ment on the terminal tiles of the ridges 
 
 of roofs 
 Shakudo. An alloy of copper with 2 to 5 
 
 per cent, of gold 
 Shari. A Buddhist relic 
 Shari-nashiji. Nashiji in which tinfoil is used 
 
 instead of gold 
 Shi. A Chinese poem 
 Shi-bu-ichi. An alloy of copper and silver in 
 
 variable proportions 
 Shichi-fuku-jin. The seven gods of Good 
 
 Fortune : — Fukurokuju, Daikoku, Ebisu, 
 
 Hotei, Bishamon, Benten, Jurojin 
 yhichi-go-kiri. The Paulownia badge, in 
 
 which the middle spike has seven, and 
 
 each of the side .spikes five, flowers. 
 
 The Imperial Kiri badge. 
 Shidard-zakura The weeping cherry; a 
 
 flowering prunus with pendulous 
 
 branches 
 Shikishi. Square sheets of ornamental paper 
 
 used in writing verses 
 Shime-nawa. A rope of straw with pendants, 
 
 supposed to ward off evil influences 
 Shin-chO. Brass composed of copper and 
 
 zinc 
 Shin-to. The native religion of the Japanese 
 Shippo. Cloisonn^ enamel 
 
 Shippo. The name of a kind of diaper 
 Shiro-kan^. General term for a white metal 
 Shishi. The ideal lion of the Chinese 
 Shishi-mai. A dance, in which the per- 
 formers, wearing a mask of a lion's 
 head and a long cloak, humorously 
 represent a lion 
 Sho. A pine 
 
 Sho. A mouth organ. Chinese, Cheng 
 Sho-chiku-bai. Pine, bamboo and plum. A 
 
 combination emblematic of longevity 
 Sho-dana. See Ko-dansu 
 Shogun. The de facto rulers of Japan from 
 the end of the 12 th century until 1868 
 
 A.D. 
 
 Shoji. The sliding lattice-work screens, 
 covered with translucent paper, which 
 form one or more of the sides of a 
 Japanese room 
 
 Shojo. Mythical creatures noted for their 
 inordinate love for intoxicating drinks 
 
 Shoki. Chinese, Chung kwei. The demon 
 queller 
 
 Shoko. A gong suspended in a circular 
 frame 
 
 Shokudai. A candlestick 
 
 Shunkei-nuri. Lacquer of a brownish red 
 colour, sometimes transparent, allowing 
 the grain of the wood to be seen 
 
 Shu-ro. A hand brazier 
 
 Sotetsu. The Cycas revoluta 
 
 Sugi. The Cryptomeria japonica 
 
 Suki-bori. Pierced work 
 
 Sumi. Chinese ink 
 
 Suri-hagashi-nuri. A kind of red lacquer on 
 black, in which the layer of red is rubbed 
 off in places, exposing the black and 
 producing a marbled appearance 
 
 Suruga-zaiku. Marquetery work made in 
 the province of Suruga 
 
 Suzu. Pewter 
 
 Suzu. A kind of bell 
 
 Suzuri-bako. A writing box 
 
 Suzuri-buta. A tray in the form of the cover 
 of a writing box 
 
141 
 
 I 
 
 Tabako-bon. A box or tray for smoking 
 utensils 
 
 Tabako-ird. A tobacco pouch 
 
 Tachi. A long sword 
 
 Taga-sod^. A perfume bag in the form of a 
 lady's sleeve 
 
 Tai. A fish. Chrysophrys cardinalis 
 
 Taiko. A drum 
 
 Taka. A falcon 
 
 Taka-makiye. Gold lacquer, in which the 
 designs are in high relief 
 
 Takara-bun^. The mythical treasure boat 
 emblematic of wealth and prosperity 
 
 Takara-mono. The Precious Things, usually 
 including the Hat of Invisibility, the 
 Lucky Rain-coat, the Sacred Key, the 
 Inexhaustible Wallet, the Precious 
 Jewel, the Scrolls, the Mallet, the 
 Weight, the Coin, and a clove-shaped 
 object, which probably represents a con- 
 stellation 
 
 Takasago. The shore of Banshu, noted for 
 its ancient pine tree supposed to be 
 tenanted by the spirits of an old man 
 and woman — Jo and Uba. Emblematic 
 of longevity 
 
 Taka-zogan. Damascene work in relief 
 
 Takd. A bamboo 
 
 Taki. A waterfall 
 
 Taki-gara-ird. Vessel for the ashes of burnt 
 incense, used in the Perfume Game 
 
 Tako. The octopus 
 
 Tama. See Gyoku 
 
 Tanjaku. A long strip of ornamental paper 
 on which verses are written 
 
 Tanjaku-bako. A box for tanjaku 
 
 Tanuki. The racoon-faced dog. Nyctereutes 
 sp., generally translated badger 
 
 Tanzaku. See Tanjaku 
 
 Te-bako. A* box used for toilet and other 
 articles 
 
 Teppatsu. A mendicant priest's bowl for 
 receiving alms 
 
 Tera. A Buddhist temple 
 
 Te-shoku. A hand candlestick 
 
 Tessen. A war fan 
 
 Tetsu-kind. A small hammer used in the 
 Perfume Game 
 
 Togi-dashi. Lacquer with a perfectly smooth 
 polished surface, in which the designs, 
 which have been first completely covered, 
 are made to appear by carefully rubbing 
 off the upper coating of lacquer 
 
 Tokugawa. The family of daimyos, from 
 which the Shoguns were chosen from 
 1603 to 1868 AD, 
 
 Tokuri. A bottle 
 
 Tomoye. See Mitsu-tomoye 
 
 To-no-ko. Powdered whetstone 
 
 Tori-i. A structure, generally of wood, formed 
 of two upright and two horizontal beams 
 placed at the entrance of a Shinto temple 
 
 Tori-kabuto. A cap worn in ceremonial 
 dances 
 
 Toro. A temple lantern on a pedestal 
 
 Tosan. A support for a wine cup 
 
 Tsuba. The guard on the hilt of a sword 
 
 Tsubaki. A camellia 
 
 Tsuchi-me. A metallic surface bearing ham- 
 mer marks regularly arranged 
 
 Tsugaru-nuri. A variety of lacquer in which 
 layers of various coloured lacquers — 
 green, red, yellow, &c., are irregularly 
 superposed. When these are rubbed 
 down a marbled surface is produced 
 
 Tsui-koku. Carved black lacquer 
 
 Tsui-shu. Carved red lacquer 
 
 Tsuka. The hilt of a sword 
 
 Tsuka-gashira. See Kashira 
 
 Tsukuru. Made. Ex., Komai tsukuru. 
 Made by Komai 
 
 Tsuki-no-maru. The disc of the moon, in 
 white on a black ground, a device used 
 for flags and war fans 
 
 Tsuru. A crane 
 
 Tsuru-kam^. Crane and tortoise, a combina- 
 tion emblematic of longevity 
 
 Tsuru-kubi. Crane's neck. A term applied 
 to a form of long-necked vase 
 
142 
 
 Tsu-sho. The common name by which a 
 
 person is generally known 
 Tsuzumi. A drum played by striking with 
 
 the fingers 
 
 ^.' ^ _ I Repoussd work 
 [li-dashi i 
 
 Uba. See Takasago 
 
 Uchi-a 
 
 Uchi 
 
 Uchiwa. A fan which does not fold 
 
 Uguisu. Japanese nightingale. Cettia cantans 
 
 Ume. See Mumd 
 
 Urashima. The Japanese " Rip van Winkle," 
 who was absent in the Spirit World for 
 more than three hundred years 
 
 Uroko. The scales of a fish 
 
 Urushi. The raw lacquer obtained from 
 Rhus vernicifera 
 
 Uta. A poem or song 
 
 Uzume. One of the primitive female divini- 
 ties. " The spirit of folly " 
 
 Uzura. A quail 
 
 vr 
 
 Wakasa-nuri. Wakasa lacquer. See Intro- 
 duction, page lix. 
 Waki-zashi. A short sword 
 Wan. A cup 
 
 Wani-guchi. A kind of bell, with a long slit 
 for its mouth, suspended before a Shintd 
 temple 
 
 Ya-jiri. An arrow-head 
 
 Yakushi. Sansk., Bhfechadjya radja. The 
 
 Healing Divinity 
 Yakwan. A vessel or pot for boiling water 
 Yamabuki. A flowering shrub. Kerria 
 
 japonica 
 Yamato-goto. A horizontal lyre of si.x strings 
 Yebisu. See Ebisu 
 Yema. See Ema 
 Yenoki. See Enoki 
 Yoseki-saiku. Marquetry work 
 
 Zogan. Damascene work. Metal inlaid with 
 gold, silver, &c. 
 
 Zogan-nuri. Lacquer in imitation of dama- 
 scene work 
 
 Zokoku-nuri. Red, brown, or black lacquer 
 generally on basket-work, with designs 
 inlaid in coloured lacquer. Frequently 
 engraved in fine lines 
 
 Zonsei-nuri. Lacquer in various colours, 
 with designs in similar lacquer inlaid. 
 Frequently engraved in fine lines 
 
 Zu-dak^. Pandean pipes 
 
 Zushi. A portable Buddhist shrine 
 
143 
 
 INDEX. 
 
 I.— SIGNATURES. 
 
 L Lacquerer. M Metal Worker. E EnameUer. S Sculptor. A Author of Design. 
 
 Akao Jinzayemon-no-j6. M I. (i), 94 
 
 Akao Yoshitsugu. M I. (i), 97 
 
 Akasaka Tadatoki. M I.(6),2o; 11.(13), 5 
 
 Ariyuki. M I. (i), 54 
 
 Asahi. M XX. B., 1 1 
 
 AzUMA Masutsund M III. (i), 37 
 
 Biju. M I. (6), 40 
 
 Buncho. L XIII., 36 
 
 Buncho (Tani). A V., 26 
 
 Bunsai. L XIII., 31a. 
 
 Bunsai, Koma. L See Koma Bunsai 
 
 Bunsen-do Atsuoki. M II. (11), 7 
 
 Chikusai. M I. (4), 4 
 Chizan. M V., 41 
 Cho-hei. L XX. B., 38 
 Ch6-6-sai. M VI., 29 
 
 Deme Mitsutaka. S XIII., 5, 8 
 Dosai. M VII., 12 
 Dosai, Obata. M VII., 15 
 
 Eisen Hogen. A XII., 35 
 
 Fujii Yoshikazu. M II. (11), 19 
 FuKUi Jizayemon. M I. (t), 11 
 Fukuju-sai. L XX. A., 13 
 Furukawa Genchin. M I. (6), 25 
 
 Gank6-saiKw6ro(orTeruyoshi?) M I.(4)>i 
 Gekkin-do Masatatsu. M II. (11), 4 
 Gensho-sai Masaharu (or Seishun). M I. (3), 
 
 23 
 Gido. M IV., 5 
 Gid5. M. See Yoshimichi. 
 Giokkoku. L XIX., 24, 26 
 Gorozo. M VI., 28 
 Goto Ichijo. M I. (i), 49; II. (n), 30; 
 
 III. (i), 48 
 Goto Kiyomitsu. M I. (i), 73 
 Goto Mitsuhira. M III. (2), i 
 Goto Mitsutada. M II. (11), 9 
 Goto Mitsutoshi (or Kwoju) M I. (s), 12 
 Goto Seijo. M I. (i), 8 
 Gozan. L XVIII., 29 
 Gyokkwa-do Nagano Haruo. M VI., 11. 
 Gyoku-sai Tachibana Masamitsu. L XX. A, 
 
 36 
 
 Hakugyoku Hoin (Kano) A XX. B., 60, 90 
 Hakuman Nobunaga. M I. (i), 17 
 Hakurioken Katsuoki. M I. (6), 22 
 Hanabusa Itcho. A XII., 21 ; XVI., 17 
 Hanzan, Mochizuki. L X., 13-15 
 Harada Toko-sai. M I. (6), 10 
 
144 
 
 Ha-ritsu. L See Ritsu-5 
 
 Haruaki Hogen. M I. (6), 26; II. (11), 14; 
 
 HI. (2), 4 
 Harui Kiyoshi. L XVI., 10 ; XIX., 36 
 Hanitoshi. M VIII., 30 
 Hashi-ichi L VI., 12 
 Hashimoto Masatoki. M III. (i), 8 
 Hayakawa Fun-un-sai. L XX. B., 1 5 
 Hazama. M I. (i), 80 
 Hide-aki (or Shumei), M I. (6), i 
 Hide-aki (or Yeimei). M VI., 41 
 Hidemitsu. M II. (it), 2 
 Hidenao. M I. (3), 20 
 HiGASHiYAMA Motonobu. M XX. B., 14 
 HiRATA (Donin). EM I. (i), 41 
 HiRATA Harunari. EM I. (6), 16 
 HiRATA Haruyuki. EM II. (11), 17; 
 
 VI., 21 
 HiRATA Narikado. E XX. B., 18 
 HiRATA Shunkwan. EM I. (6), 13 
 Hirochika. M III. (i), 39 
 HiTOTSUVANAGi Tomotoshi. M I. (6), 47 
 HiTOTSUYANAGi Tomoyoshi M I. (6), 46 
 Hoitsu. A XII., 27; XIV., 13; XIX, 40(0) 
 Hokoku. M IV., 28 
 Hoku-sai. A XIV., 7 
 Homin. L XIV., 26, 37 
 Honda Masatora. M I. (i), 23 
 HoRiTANi Toshimitsu. M V., 36 
 Horiu-do Katsushige. M I. (i), iii 
 HoRiVK Okinari. M I. (6), 23 
 Hosen. L XX. A., 49 
 Hoshuku Korin. L See Korin. 
 Hosoda Naomitsu. M I. (5), 10 
 Hoyen Kazatomo. M III. (i), 24 
 Hozui. M I. (3), 20 
 Hyakuyo (?). L XX. B., 39 
 
 Ichigio-sai. M III. (i), 26 
 Ichi-o-ken Harutomo. M VI., 26 
 Ichi-yo. M VI., 10 
 Iijima Yojibei. M I. (i), ii 
 Ikkin. M III. (i), 23 
 
 Inamoto Masateru. M I. (i), 76 
 Inouye Kiyotaka. M I. (i), 108 
 Ippo-sai. L XVI., 6 
 Ippo-sai Kanzan. L XII., i (t) 
 Isagawa Masayoshi. M See Sunagawa 
 
 Masayoshi 
 Isen-in Hoin (Kano). A XVIIL, 30 
 IsHiGURO Masatsune. M I. (4), 6 ; (6), 49 
 IsoBE Kazuhidd M I. (6), 35 
 Issando Joi (Nara). M I. (i), 87; XII., 4 
 Issho Nakagawa Katsuzane. M III. (i), 46 
 Itto-sai. L XVIIL, 25 
 Itto-sai Kaneyasu Masatoshi. M IV., 16 
 Iwai Hosaku. M IV., 7 
 IwAMOTO Konkwan. M I. (3), 3 ; (4), 12 ; 
 
 (6), 31 
 Izan. M p. 130 
 
 Jochiku. M 1.(0,35,68; III. (i), 35 
 
 Joi. M See Issando Joi 
 
 Joka. L XX. B., 83 
 
 Joka-sai (Yamada). L XII., 22-25; XII., 
 
 60 
 J5shin-sai Kiyonori. M II. (ii), 26 
 Jo-un. M v., 23, 27 
 Juso Hogen, Takahashi Toshitsugu. M 
 
 III. (i), 41 
 
 K.\jikawa. L IX., 56; XII., 3-1 1, 61; 
 
 XIV., 7; XX. A., 7, 33, 38, 42; 
 
 XX. B. 88 
 Kajikawa Bunryu-sai. L XII., 12 
 Kajikawa Takafusa. L I. (5), 5 
 Kako-sai. L XII., 51, 52; XX. A., 34, 
 
 35 ; XX. B., 89 
 Kamivama Munemichi. M II. (11), 29 
 Kanda Kishichi. M I. (i), 91 
 Kanda Shigeuji. M I. (i), 103 
 Kaneko Jurobei Yukinaka. M I. (i), 84 
 Kanesada, Izumi no Kami. M I. (3), 22 
 
»45 
 
 Katsuhiro. M IV., 34 
 
 Katsuyasu. M VI., 19 
 
 Katsuyoshi. M I. (s), 7 
 
 Kawa Hideoki. M II. (11), 5 
 
 Kawaji. M I. (i), 105 
 
 Kawaji Tomomichi. M III. (i), 21 
 
 Kazuhidd M I. (i), 9 
 
 Kazumitsu. M I. (7), I 
 
 Kazuo. M I. (i), 77 
 
 Kazusada. M III. (2), 2 
 
 Kei-6-sai. L XII., 44 
 
 Kenkoku, Tenroku-do (?). L X., i 
 
 Kenya. L XII., 46, 47 ; XVI., 45 
 
 Kenzui (or Kaneyuki). M I. (i), 88 
 
 Kikugawa Nampo Hisahid^. M III. (i), 32 
 
 Kikuoka Yukinobu. M I. (6), 51 
 
 Kimura Jikkyoku. L X., 17 
 
 Kinai. M I. (i), 46, SS-64; (3), h 2; 
 
 III. (i), 12, 19 
 Ki no Munemasa. M 5«Mi0CHiNMunemasa 
 Kinkw6-do Morichika. M I. (i), 79 
 Kioriu, Koma. L See Koma Kioriu 
 Kishu. L XX. A., 48 
 Kiuhaku, Koma. L See Koma Kiuhaku 
 Kiyofusa. M II. (13), 7 
 Kiyonaga. M I. (i), 29 
 Kiyoshig^, Hokio. M I. (6), 34 
 Kiyoteru. M III. (i), 38 
 KO-a-mi. L XX. A., 5, 41, 45 
 Koma Bunsai. L XL, 21, 22 
 Koma Kioriu. L XI., i6, 17; XII., 13 
 Koma Kiuhaku. L XL, i, 5-8; XX. B., 
 
 66, 70 
 Koma Kiuhaku Yasuaki. L XL, 9 
 Koma Kwansai. L XL, i9-2oa; XIX., 40(1) 
 Koma Sadashige. L XL, 18 
 Koma Yasuaki. L XL, 10 
 Koma Yasutada. L XL, 11-15, 43; XV., 9 
 KoMAi. M VI., 2, 3, 6; p. 129 
 Komin. L XX. B., 17 
 Korin. L IX., 49, 50, 58; XIIL, 35, 37, 45 
 Kosen-sai Katsura Munechika. M II.(ii),8 
 Koyetsu, Hon-ami. L IX., 35 
 Kunihiro. M I. (6), 15 
 Kunimasa. M I. (6), 36 
 
 Kuwamura Genzayemon Katsuhisa. M 
 
 IL (11), 20 
 Kuzui. M See Noriyuki 
 Kwakuju-sai Katsutoshi. M XX. B., 5 
 Kwan. L See Ritsu-o 
 Kwansai. M II. (11), 23 
 Kwansai, Koma. L See Koma Kwansai 
 Kwansho-sai. L See Toyo 
 Kwan-yo-sai. L XX. B., 32 
 Kwaryu-sai. L XX. A., 18 
 Kwoshu-sai. L XX. A., 19 
 Kwozan. L XVL, 45; XVIL, 6; XX. B., 87 
 Kyukoku. L X., 18 
 
 M 
 
 Masachika. M I. (i), i, 83; II. (13), 11 
 Masaharu. M II. (11), 12 
 Masakata. M I. (i), 109; (3), 21 
 Masakatsu. M VII., 6 
 Masanaga. M II. (9), 14 
 Ma.sanobu (or Seichi). M I. ( i ), 89 
 Masanobu (or Seishin). M VI., 27 
 Masanori. M I. (i), 82 
 Masa-o. M p. 127 
 Masa-o, Chikuin. M VI., 5 
 Masashige. M I. (6), 11 
 Masatoyo. M I. (i), 43 
 Masatsun^. M VII., 5 
 Masatsune (Ito). M I. (5), 15 
 Masayoshi (or Seiro). M II. (u), 10 
 Masayoshi (or Seigi). M I. (i), 112 
 Masazand, Shi-o-mi. L See Shi-o-mi 
 
 Masanari 
 Masushigd L XX. A., 37 
 Meiho. M VII., 9 
 Meiho-an. M VIII., 21 
 Michinaga. M I. (6), 39 
 Michiyuki. L XX. A., 6 
 MiKAMi Yoshihide. M III. (i), 33 
 Minkoku. S XII., 1 (k) 
 Minsetsu-sai. L XX. B., 67 
 MiocHiN Mun^-aki. M V., 32 
 MiocHiN Munefusa. M IV., 13 
 
146 
 
 MiocHiN Munemasa. M I. (5), 11 ; III. 
 
 (2), 18 
 MiocHiN Munesada. M I. (6), 16 
 MiocHiN Munesuke. M IV., 8 
 MiocHiN Munetaka. M I. (4), 14 
 MiocHiN Muneyoshi. M IV., 9 
 MiocHiN Nobuiye. M IV., 10 
 MioCHiN Yoshihisa. M I. (i), 10, 98 
 MiocHiN Yoshishig^. M III. (2), 27 
 Mitsuhiro (or Kwoko). M I. (4), 3 
 Mitsuhiro (or Kwokwo). M II. (11), i; 
 
 III. (i), 40 
 Mitsumasa. L XX. B., 63 
 Mitsuoki (Otsuki). M I. (i), 27 
 Mitsutoshi. L XII., 49 
 Mitsuyoshi (or Kwobi). M XX. B., 17 
 Mitsuyoshi. M I. (i), 93 
 MiY.\BE Atsuyoshi. M IV., 29; VI., 34 
 MiYA-o. M v., 46 
 MORIGUCHI. M VI., 8 
 Morikuni. M I. (i), 95 
 Moritoshi (or Seiju). M VI., 16 
 Moritoshi. M II. (13), 10 
 Munenori. M III. (2), 3 
 My5sai(?). L XII., 54 
 
 N 
 
 Nagahide. L XX. B., 58 
 
 Nagatoshi. M II. (11), 6 
 
 Nagatsune. M I. (3), 8; (4), 10 
 
 Nagayoshi. M III. (2), 7, 8 
 
 Nakai Tomonobu. M III. (i), 22 
 
 Nakai Zensuke Tomotsune. M II. (13), 13 
 
 Naokatsu. M I. (i), 92 
 
 Nara. M I. (3), 17 
 
 Nara Toshiharu. M I. (i), 90 
 
 Natsuo. M I. (6), 19; II. (ri), 3 
 
 NiSHiKAWA Masatora. M I. (i), 45 
 
 Nobuiye. M III. (2), 11 
 
 Norinobu (Kano). A XL, 15 
 
 Norimasa. M I. (i), 106 
 
 Norisuke. M I. (i), 107 
 
 Noritada. M I. (4). 15 
 
 Noriyuki (Hamano). M XX. B., 7 
 
 Okada Nobumasa. M I. (i), 104 
 Omori Hidehiko. M I. (i), 97 
 OiMORi Hidetomo. M II. (11), 28 
 Omori Teruhide (or Kishu). M II.(ii),iS 
 Omori Teruhid(f (or Yeishu). M I. (6), 32, 
 33; II. (II), 25; III. (I), 37 
 
 Rinankei. L XX. B., 14 
 
 Rinsen-do. M II. (11), 31 
 
 Rioun Seiju. M I. (3), 7 
 
 Risen. S XII. i, (s) 
 
 Ritsu-5. L X., 2-6, 9, II, 12, 19; XIII., 
 
 54; XV., 33; XVI., 8; p. 128 
 Ritsu-o. A XVI., 45 
 Riugioku-sai. L XIX., 40 (g) 
 Riumei-shi Kazuhide'. M I. (4), 7 
 Ryusen-sai. L XX. A., 44 
 
 S 
 Sadaji. L X., 20 
 Sairo(?) L XVI., 17; XVIII., 31 
 Saito Mototomo. M XX. B., 4 
 Sakyo. S XIII., 22 
 Saneharu (or Shinji). M I. (5), 2 
 Saneharu (or Shinshun). M I. (s), 2 
 Sanekane. M I. (5), 2 
 Saneki. M I. (s), 2 
 Sanetsugu. M I. (5), 2 
 Saneyoshi. M I. (5). 2 
 Seimin. M IV., i, 3, 32 ; V., 26; VII., 23, 
 
 2S> 27. 40 
 
 Seiri5-ken Shoju. M I. (6), 42 
 
 Seirio-sai Hidetoshi (or Shuju). M I. (i), 
 
 81 ; III. (i), 25 
 Seiriu-ken Eiju. M I. (1), 12 ; III. (2), 6 
 Seiryu-ken. M XX. B., 15 
 Seisai. L XII., 28 
 Seisei Korin. L See Korin. 
 Seisen-in Hogen (Kano) A XVIII., 30 
 Seki. M VI., I 
 Sekiso. M VI., 22 
 Sempo-sai. M HI. (i), 30 
 
147 
 
 Sessai Toshimasa. M II. (ii), 27 
 
 Sessan. L XVI., 14 
 
 Sesshu. A IX., 39 
 
 Shiba Hogen Takechika. M I. (4). 5 
 
 Shibayama. S XII., 57 
 
 Shigenaga. L XII., 45, 50 
 
 Shigetoshi. M VII., 20 
 
 Shigetsune. M I. (i), 2, 67 
 
 Shimizu Ichitayu Masatomo. L IX., 23 
 
 Shinjo. M I. (5), 2 
 
 Shinsai. L XII., i (u) 
 
 Shinzui. M I. (5), 2 
 
 Shi-o-mi Masakage. L XII., 19 
 
 Shi-o-mi Masanari (or Masazane). L XII. 
 
 13-18; XIIL, 16, 52; XV., 50; XVI., 30 
 Shisen. L XVI., 22 
 Sho-a-mi. M I. (3), 6 
 Sh6-a-mi Dennai. M III. (i), 14 
 ShO-a-mi Kanemichi. M I. (i), 95 
 ShO-a-mi Katsuyoshi. M I. (i), 19; p. 129 
 Sho-a-mi Masanori. M I. (7), 5 
 Sho-a-mi Morikuni. M 1.(6), 29; III. (i), 34 
 ShO-a-mi Shigetsune. M I. (i), 15 
 Shoji Katsunobu. M XX. B., 10 
 Shoji Naokatsu. M V., 35 
 Shojo Temmin. M III. (2), 12 
 Shokwa-sai. L XX. A., 26-31 
 Shokwa-sai. L XII., 57; XX. A., 9-11 
 Shokwa-sai Gyobu. L XII., 55 
 Shokwa-sai Masatsun^. L XII., 56 
 Shomo-sai. L XIV., 9 
 Shomo-sai Masamitsu. L XVI., 56-58; 
 
 XX. A., 4 
 Shorin-sai. L XII., 58 
 Shorin-sai. L XIX., 42 
 Shozui (H.A.MAN0). M II. (11), 24; VI., 12 
 Shugetsu. L XIX., 40 (p) 
 Shugyoku-sai. L XX. B, 98 
 Shukwo. S XII., I (o) 
 Shummei Hogen. M See Haruaki Hogen 
 Shunsho. L XII., 42 
 Shunsui. M I. (6), 27 
 Shuzan. S XII., 1 (h) 
 Soichi. L (?) XII., I (z) 
 Sokwan. M I. (3), 20 
 
 Sokyu-sai. L XII., 59 
 
 SoMEYA Tomonobu. M III. (i), 47 
 
 Somin. M V, 14, 38; VII., 19; XII., i 
 
 (v); XX. B., 12 
 Somin, Juryo-sai. M V., 12 
 Sotatsu, Taisei-ken. A (?) IX., 59 
 Soyetsu, Tsuchida. L IX., 36-39 
 
 SUGIYAMA. M VII., 36 
 
 SuGiYAMA Atsushige. M II. (13), 12 
 SuNAGAWA Masayoshi. M I. (i), 96, 102; 
 
 III. (i), 18 
 Sunsai. L XX. A., 25 
 SuRUGA. M I. (i), 100 
 
 Tadanaga. M I. (3), 4 
 
 Tada Sadamasa. M I. (i), 14 
 
 Taishin. L XII., i (r) ; pp. 127, 128 
 
 Taiz.\n Motoaki. M II. (11), 13 
 
 Takahashi Masatsugu. M II. (13), 14 
 
 Takahashi Tomotsugii. M I. (5), y 
 
 Takase. M XX. B, 13 
 
 Takekiyo. A XX. A., 43 
 
 Takusai. M XIX., 19 
 
 Tamakaji. L XX. B., 51 
 
 Tanch5-sai. M V., 15, 44 
 
 T.\TSUKI Takahiro. L XV., 31 
 
 Tatsutoshi (or Shinju). M I. (7), 6 
 
 Terumasa. M I. (i), 40 
 
 Tessai. L XVI., 15 
 
 Tetsugen-do Shoraku. M III. (2), 28 
 
 Tojo-sai. L XX. A., 47 
 
 Toju. L XII., 41 
 
 Tokinao. M I. (i), 85, loi 
 
 Tokusai. M XX. B., 9 
 
 Tomohisa. M I. (7), 3 
 
 Tomonobu. M I. (6), 52 
 
 Tomonori. M I. (i), 75 
 
 Tomoyuki. M II. (11), 21 
 
 Tomozuru. M I. (i), 78 
 
 Toryo-sai (?). M V., i 
 
 Toryusai Sadamunu. M p. 128 
 
 Toshiharu (or Riji). M III. (2), 9 
 
 Toshiharu (or Rishun). M VI., 37a 
 
148 
 
 Toshihide. M I. (3), 20 
 Toshihiro. M I. (i), 65 
 Toshinaga (or Rijuj. M I. (i), 18 
 Toshiyoshi. M III. (i), 43 
 Toshun Hogen (Kano). A XII., 39 
 To-un. M IV., 2, 4; v., 13, 17, 40; VII., 
 
 45,49; XIX., II 
 To-un-sai. M V., 3, 28 
 Toyo, Kwansho-sai. L XII., 34-40 ; XVI., 
 
 42 ; XX. B., 29, 53, 54, 56, 60 
 Toyohiko. A XX. B., 55 
 TsucHiYA Takechika. M II. (n), 16 
 Tsugushige. L X., 37 
 Tsuji Gwanriu. M I. (6), 45 
 Tsunenobu. M VII., 17 
 Tsunenobu. M I. (6), 24 
 Tsuneyo. M I. (6), 41 
 
 U 
 
 U1.IETADA. M I. (3) 16 ; (5), 6 ; III. (i), 
 
 3; VII., 44 
 Umetada. M I. (6), 37 ; VIII., 3 
 Umetada Kirokuro. M I. (i), 50 
 Umetada Masahide. M I. (ij, 57 
 Umetada Masatsugu. M I. (i), 48 
 Umetada Masaya. M I. (i), 52 
 Umetada Mioju. M I. (i), 49 
 Umetada Narimasa. M I. (6), 48 
 Umetada Shichizayemon. M I. (i), 53 
 Umetada Yoshitsugu. M I. (i), 47 
 Uyemura Masumoto. M I. (6), 38 
 
 W 
 
 Washida Kwochu. M I. (3), 12 
 
 Y 
 
 Yamada Morinobu. M I. (6), 24 
 Yamamoto Riurin-sai Tomoyasu. M III. 
 
 (2). 13 
 Yanagawa Mitsuaki. M I. (6), 50 
 Yanagawa Naomasa. M XII., 1 (w) 
 Yasuchika (Nara). M I. (i), 7, 28; (4), 2; 
 
 III. (i), 33»; (2), 24; XX. B., 8 
 Yasuchika. M VII., 28 
 Yasuhiro. M VI., 30 
 Yasuiye. M I. (i), 32 
 Yasutada, Koma. L See Koma Yasutada 
 Yen-ami Shigemund. L XII., 53 
 Yosei. L IX., 45; XVIII., 9 
 Yoshiaki. M I. (3), 13 
 Yoshihisa. M III. (i), 36 
 Yoshikata. L XVII., 10 
 Yoshimichi (or Gido). M V., 9, 19, 45 ; 
 
 XIX., 3 
 Yoshimori. M I. (6), 43 
 Yoshioka Terutsugu. M III. (2), 5 
 Yoshitsugu (or Giji). M I. (4), 1 1 
 Yoshitsugu (or Kichiji). M I. (3), 9 
 Yoshitsugu (or Rioji). M I. (5), 8 
 Yoshitsura. M I. (4), 13 
 Yo-yu-saL L XII., 27; XIV, 13; XIX., 
 
 40, (o;; XX. B., 34, 35 
 Yu-6-sai. M III. (2), 10 
 Yutoku-sai. L XII., 48 
 
 Z 
 Zeshin (Shibata). L I. (6), 5 ; XII., 63, 
 
 64; XVII, 19, 20; XX. B., 24 
 Zokoku. L XVIII., 5, 17, 18, 38 
 Zuiriu-ken Hidetomo. M I. (3), 18 
 
149 
 
 INDEX. 
 
 II.— CONTRIBUTORS. 
 
 • The Contributors whose names are thus marked are Members of the Club. 
 
 *Wm. C.Alexander, Esq., 4, 8, 9, 14, 15, 17, 
 21, 23, 24, 25, 27, 28, 29, 30, 31, 33, 35, 
 36, 43, 47, 49, 50, 52, 53, 64, 68, 72, 73, 
 
 74, 78. 79. 8°. 83, 84, 85, 91, 92, 93, 94, 
 95, 96, 97, 98, 100, loi, 102, 103, 104, 
 107, 108, III, 114, 122, 123, 124, 125, 
 
 126, 127, 128, 129, 130, 131, 132 
 'Professor W. Anderson, F.R.C.S., 15, 22, 
 
 25.34,35,37,38,39, 40, 106, no, 112, 
 
 113, 120, 121, 128 
 Monsieur S. Bing, 10-12, 17, 112, 127, 131. 
 •Professor A. H. Church, F.R.S., 1-4, 8, 9, 
 
 10, 13, 14, 25, 30, 56 
 •Alfred Cock, Esq., Q.C., 18, 22, 25, 26, 27, 
 
 28, 29, 30, 34, 35, 37, 38, 40, 113, 114, 
 
 127, 129, 130, 131 
 
 •Wm. H. Cope, Esq., 52, 58, 75, 105, 117, 
 120, 123 
 T. W. Cutler, Esq., 16, 36, 59, 69, 70, 74, 
 
 75, 79. 85, loi, 103. 106, 108, n5, 117, 
 118, ti9, 121, 129 
 
 •Edward Dillon, Esq., 16, 31, 39, 40, 48, 68, 
 
 107, 109, 114, 118, H9, 130, 131 
 •Frank Dillon, Esq., 23, 24, 92, 113, 128, 
 
 130, 131 
 F. Yeats Edwards, Esq., 16, 19, 20, 23, 25, 
 
 34. 35. 52. 74, 93, 96, 104, 105. 106, 
 109, 112, 127 
 
 •A. W. Franks, Esq., C.B., 41, 44, 51, 52, 
 56, 71, 78, 79. 82, 83, 88, 90, 91, 103, 
 119 
 
 •Edward Gilbertson, Esq., 6, 7, 8, 9, 10, 13, 
 14, 31. 41, 42, 43, 44, 46, 50, 53, 54, 
 55, 56, 57, 6i, 62, 64, 67, 68, 70, 73, 
 80, 84, 102, 103, 105, 107, 108, 109, 
 no, 112, 120, 121, 122, 123, 124, 125, 
 126, 127 
 
 Colonel R. GofT, 8, 16, 18, 23, 24, 25, 39, 
 52, 54, 57, 59, 61, 62, 64, 67, 68, 70, 71, 
 75,78,84,93,99, 103, n6, n9, 122, 
 125, 126, 127, 131 
 
 W. Gowland, Esq., 19, 22, 34, 57, 88, 89, 
 
 97, loi, 104 
 James Gurney, Esq., 29, 38, 39, 51, 61, 70, 
 
 76, 77, 78, 80, 86, 89, 91, 123 
 •Lawrence Harrison, Esq., 132 
 E. W. Hennell, Esq., 37, 63, 67, 84, 86, 92, 
 
 106 
 Sir Henry Howorth, K.C.I. E., M.P., 23, 24, 
 
 35, 40, 46, 69, 72, 106, 132 
 Marcus B. Huish, Esq., 9, 24, 27, 32, 38, 
 
 63. 97 
 •Constantine A. lonides, Esq., 23 
 •Samuel S. Joseph, Esq., 51, 53, 114 
 •Sir Trevor Lawrence, Bart., 18, 31, 32, t,^, 
 34, 51. 59. 61, 64, 65, 70, 71, 72, 74, 
 75, 80, 81, 82, 83, 85, 87, 88, 89, 90, 
 
 91. 92, 93, 94. 96, 97. 98, 99. loo, 103. 
 105, 107, 108, 109, no, n2, 114, ns, 
 n6, n7, n8, 130, 131 
 •Willoughby J. G. Loudon, Esq., 53, 59, 82, 
 
 84, IIS 
 •Hon. W. F. B. Massey-Mainwaring, 15, 36, 
 
 57, 58, 74, 91, 106, n2 
 •Colonel Harold Malot, 30 
 •Hon. Sir Robert Meade, K.C.B., n6 
 •Richard Mills, Esq., 33, 35, 36 
 Monsieur E. L. Montefiore, 12, 13, 15, 17, 
 22, 24, 27, 29, 27>, 46, 47, 50, 51, 56, 
 63, 65 
 Alfred Parsons, Esq., 22, 36, 40, 112, 127 
 Alfred dc Pass, Esq., 52 
 •Henry J. Pfungst, Esq., 19, 20, 30, 39, n3 
 •W. G. Rawlinson, Esq., 85 
 
150 
 
 Charles H. Read, Esq, 38, 39, 57, 102, 127 
 
 Professor Wm. C. Roberts-Austen, C.B., 
 
 F.R.S., 23, 129 
 
 •Sir J. Charles Robinson, 15, 21, 39, 69 
 
 •George Salting, Esq., 5, 13, 14, 18, 19, 20, 
 
 22, 24, 32, 33, 34, 35, 36, 41, 42, 43, 
 
 45. 46, 49, 5°' 51, 52, 54, 56, 57, 5'^, 59- 
 65, 75, 80, 83, 85, 86, 87, 89, 91, 92, 95 
 96, 98, 99, loi, loS, no, 118, 119, 125, 
 126, 129 
 
 Stuart M. Samuel, Esq., 14, 15. 16, 17, 18, 
 20, 24, 34, 36, 38, 40, 41, 45, 46, 47, 
 48, 49, 51, 52, 53, 54, 58, 63, 64, 65, 66, 
 67, 68, 69, 71, 72, 73, 74, 75, 78, 83, 84, 
 85,87,89,92, 94, 96, 101, 105, III, 
 119, 123, 125, 126, 131 
 
 F. A. Satow, Esq., 20, 30, 99 
 
 F. G. Smith, Esq., 23 
 
 G. M. Smith, Esq., 103, 104 
 
 W. Harding Smith, Esq, 18, 20, 24, 25, 32, 
 
 37, 42, 43, 44, 45, 7°, 7i, 113, "7, 123, 
 124, 126, 130 
 
 R. Phen^ Spiers, Esq., 16, 23, 26, 28, 30, 
 32, 36, 38, 40, 43, 54, 55, 59, 61, 62, 
 
 65, 68, 71, 75, 80, 86, 91, 93, 97, 98, 
 
 100, 102, 104, 105, 106, 109, III, 115, 
 
 117, 118, H9, 120, 121, 123, 124, 125, 
 
 126, 130 
 John M. Swan, Esq., A.R.A., 16, 17, 19, 20, 
 
 22, 27, 28, 31, 32, 34, 37, 38, 39, 75, 
 
 128, 129. 
 *H. Virtue Tebbs, Esq., 95, 103, no, in, 
 
 117, 118, 124 
 *Michael Tomkinson, Esq., 5, 6, 13, 14, 15, 
 
 17, 18, 20, 26, 28, 29, 31, 33, 34, 42, 
 
 43, 45, 46, 47, 48, 49, 55, 5^, 63, 66, 
 
 68, 69, 71, 73, 74, 79, 86, 87, 88, 90, 
 
 94, 95, 96, 97, 98, 99, ^°°> loi. »o2, 
 104, 106, 107, 108, 109, no, in, 122, 
 123, 125, 129 
 H. S. Trower, Esq., 5, 9, 10, 13, 16, 25, 30, 
 36, 44, 49, 55, 60, 61, 62, 63, 64, 65, 
 
 66, 67, 79, 97, in, 117, 122, 124, 125, 
 126 
 
MftchitK &> Sen, LofidoH. 
 
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