Apropos of the absurdly small price at which a man can live in Japan, I am reminded of an experience in Kioto. I was walking down the theatre streets one day with a Japanese friend, and we stopped in front of a little stall full of very dainty toys. There were thousands of toys—miniature kitchen utensils exquisitely carved in wood, small pots and pans and dishes, all bound with lacquer and beautifully finished, such as would delight the heart of every housewife of my acquaintance. I asked the stall-holder, a little stolid old man, through the interpretation of my friend, how much he would sell his entire stock for. His excitement was intense, and my friend told me that my simple question had had the effect of an avalanche upon this stolid little toy-seller, and that he was quite unable to grasp my meaning, so startling and gigantic did the transaction seem to him. After a great deal of gesticulation, and much flicking of the beads on his counting machine, the little man came to the conclusion that his entire stock would be worth two yen thirty sen. This ridiculous price quite took my breath away, and I immediately said that I would buy the lot. Then there was another commotion: the little man was thoroughly upset, and could not understand what I meant. In the end I made him carry away his stall bodily and follow me with it to my hotel. I paid him the money, and he quickly disappeared. “You won’t see that little gentleman in theatre street again in a hurry,” my friend said: “he will be living in luxury now for a week or more on that two dollar thirty sen, and he certainly won’t dream of doing any more work until he has spent the lot.” Sure enough, I never saw the stolid toy-seller again during the whole of my stay in Kioto, which stretched over more than a month. But although the coolie and the workman in Japan live on next to nothing, the rich man spends very lavishly. If he entertains you, he gives you a dinner which, although you seldom appreciate its splendid qualities (for it does not appeal to the Western palate), is, from the Japanese standpoint, truly regal. There will be four or five different kinds of fish, some of which will be specimens of great value; and a dinner given at a Japanese tea-house by a merchant to a European friend would cost more than the most expensive dinner it is possible to procure at the Carlton or at the Savoy.
BRONZE-WORKERS
My men flourished on the heads and tails of fish, and did splendid service. Day by day the decorations for my house grew, as one worker after another was added to the little band. One man recommended another, and gradually the number increased, until at last there were as many as seventy working for me Inchie was my help, my interpreter, my foreman. At first there were many difficulties in the way, for Inchie’s knowledge of English was limited, and my knowledge of Japanese was none at all. It thus arose that the only method of making him understand me was pantomime. One day, while discussing a certain measurement, we became so involved that I was determined to demonstrate my meaning. So I borrowed the carpenter’s tools and constructed a little model of the house, with its different rooms, showing how the carved ceilings and friezes should be placed. Inchie was astounded that I should have so great a knowledge of his own particular work of carpentry, and respected me the more accordingly.
My one great obstacle with the men was in persuading them to make several things alike. They were all artists and hated repeating themselves, and without rhyme or reason I would suddenly find that they had made a red lacquer door twice the size of its fellow by way of variety. When I first employed them I made the grave mistake with my workers of ordering large quantities at a time of required materials. I actually ordered a hundred electric-light fittings—fairy-like lamps daintily wrought in bronze, of which they had made me a model—but they refused me point-blank, and the only way to get them at all was by asking a dozen at a time, and by arranging that each dozen should be varied in some slight respect. It was the same with my picture frames. They were to be a combination of wood and silk, and when I told the master bronze-worker to make me two hundred of them for my next exhibition in London, his face clouded over; he was thoroughly displeased. “No can make,” he said decisively: “there is berry much difficulty. Much it cost to make; I must get big shops to do that; I no likee.” The little man was quite discouraged, and I was only able to procure my frames by degrees.
Now, in England it would be quite the reverse—the larger the order, the more contented the merchant; but in Japan everything is made by hand. The men take an artistic interest in the work. They hate repeating themselves; and in all the panels designed for my carved ceilings there were not two alike, although the entire design formed a complete whole. Why in the world we do not use Oriental labour in Europe is a marvel to me.
IN THEATRE STREET
Nothing that these Japanese workmen made for me at the rate of sevenpence or eightpence a day can be approached in London for love or money. I had some gold screens made for me in Japan. They were very beautiful, and were made of gold on silk varnished over and lacquered, with apple-green and vermilion silk borders made from the linings of old dancing dresses. These screens were so brilliant that they were like gold mirrors in which a lady might see her reflection just as accurately as in any Parisian cheval glass. In the passage to England one of the screens became slightly damaged. I was greatly distressed, and took it to a celebrated firm of house-decorators to have it repaired. They undertook the task very confidently; but directly they attempted to match the gold they found that it was impossible to approach to anything like the brilliancy of its surface, although every conceivable method was attempted. They tried putting on gold and then burnishing and varnishing it over to imitate the surface of the lacquer. The result was that, to the present day, that screen stands in my hall with the same dull, sullied patch in the middle of it, a silent testimony to the inferiority of the British house-decorator as compared with his Japanese contemporary.
Little Inchie and I, as I have said, soon became great friends. He followed me about wherever I went, and I often lingered in his store, watching him sell curios to English people and British merchants from Kobe. It was often a revelation to observe the subtlety of the man and the masterly way in which he handled these inquiring visitors. He seemed to divine their inner-most thoughts, and to know at a glance exactly what they wanted, and the prices that they would be likely to pay. After a time I learnt the price of nearly every curio in his store. There was never a fixed value for anything: Inchie was always led by his customer. Perhaps an American and his wife would come in, the man saying nothing, the wife remarking on everything. It was, they said, all “beautiful.” I noticed that little Inchie was not at all enthusiastic, merely answering their questions, but not attempting to sell. He would not waste an ounce of energy on them, and after a time they would sweep out of the place, the lady gushing to the last moment and saying how beautiful and exquisite everything was. Directly they had gone I would ask Inchie why he had not worked harder to try and sell them something. “Gentleman and lady not got big pocket,” he would say. How in the world he knew that they had but little money puzzled me. “Lady berry much talk—American lady always berry much talk. She say ‘This curio number one,’ but never buy. English daimio lady come to my store no berry much talk; English gentleman no big pocket. When she leave my store I say, ‘Me presentie you.’” What little Inchie means by this is that he feels that this English lady is refined and really admires his beautiful things, but cannot afford to buy them. He appreciates her delicacy, and, in his quaint pidgin English, begs to be allowed the privilege of giving her this little inexpensive trifle to take away.