Most prominent among the toilers of Japan are the workers in lacquer, clean and dainty beyond description, with whom a great portion of my time was taken up. The climate of the country is exactly suited to the making of lacquer, being sufficiently damp. The process is unusually elaborate, and is a tedious matter of painting on a very large number of coats of lacquer, rubbing them down always, and allowing them to dry. When we think of lacquer here in England, we think of it in connection with our tea-trays and like cheap goods which we complain of as being made of bad material that chips and breaks and becomes useless in a distressingly short space of time. “The Japanese have lost the art of creating the fine old lacquer that they used formerly,” we say. But it is not so at all; it is purely a question of time. If the Japanese were allowed sufficient leisure, and were not rushed on so by the requirements of the European market, they would be able to turn out just as fine and just as durable lacquer as they did in the days when they worked for the love of their work alone for purchase by their fellow-countrymen. Practical proof of this can be found in the fact that all the doors in my London house, which are composed of the best lacquer, twenty or thirty coats thick, and have been in constant use for years, are still in perfect condition, and will be two hundred years hence. One has no idea before going to Japan of the extensive range of colours in the way of greens, blues, and reds that there is in lacquer, for most of the colours are entirely unknown in the West. There is undoubtedly no surface in the world that is as clear and as brilliant as lacquer, and I have often thought how advantageous it would be if one could only lacquer pictures over instead of varnishing them; it would give to the poorest work a brilliancy and crispness that would be simply invaluable. But this brilliant surface is only brought about by excessive care and cleanliness in its preparation—indeed, it needs almost as much attention as the making of a collotype plate.
I was anxious to get some really good cloisonné workers to make some things for me, and by very good luck I hit upon a man who had just discovered an entirely new method of handling gold. Coming across one of his samples at an exhibition in Tokio, I ferreted him out and persuaded him to engage for me. His cloisonné, unlike the ordinary slate-grey work that one must needs peer closely into before discovering its fine qualities, was bold in design, with flower patterns of cherry-blossom just traceable through a fine lacework of gold, and it looked like a brilliant rainbow-hued bubble. One is much inclined to fancy that cloisonné vases with elaborate designs must necessarily be expensive. That, however, is not the case. There are technical obstacles connected with making broad sweeps of colour in cloisonné that render simple designs much more expensive. Japan is the only place in the world that is capable of producing cloisonné, for the patience and skill required would overtax the workers of any other country, and such an attempt would necessarily end in failure. A cloisonné shop is every bit as depressing as the embroidery works. You will see men picking up on the end of their tiny instruments gold wire, which is so microscopic as to be like a grain of dust, and almost as invisible. This tiny morsel has to be placed on the metal vase and fixed there.
A CLOISONNÉ WORKER
Talking of the delicate and exquisite tools used by cloisonné workers reminds me of tools that are just as delicate, but used for quite another purpose—namely, those which the Japanese dentists handle so dexterously. However, the stock-in-trade of a Japanese dentist chiefly consists of the proper use of his finger and thumb. The most strongly-rooted tooth invariably gives way to this instrument. A Japanese dentist has only to apply his fingers to a tooth, and out that tooth comes on the instant. It is sometimes very amusing to see a group of dentists’ assistants, all mere children, practising their trade by endeavouring to pull nails out of a board, beginning with tin tacks and ending with nails which are more firmly rooted than the real teeth themselves.
When I had gathered my team together by the help of my right-hand ally, Inchie, after having chosen the best of them from every branch of art, they continued to go on well and assiduously, and the decorations of my house were in full swing, when suddenly there was a break, a distinct break. I went round to the store early one lovely morning in May, as was my habit, and found, to my surprise, that the whole place was empty. Not a metal-worker or carpenter was to be seen. They had all mysteriously disappeared—where? To view the cherry-blossom! Inchie also, whom I had relied upon as a good steady colleague, had, on the first opportunity, and without any warning, drifted away into the open air with the whole band to view the blossom. The Japanese workmen, who are skilled, and want examples from Nature, evidently adhere to the principle that “all work and no play makes Jack a dull boy,” and so, whether I liked it or not, when such a glorious day had presented itself, they were not going to miss the opportunity of enjoying it. It was a holiday, or rather the sunshine had declared it to be a holiday, and all Japan, rich and poor, employers and employed, had turned out to picnic in the parks, and feast their eyes upon the cherry-blossom. So universal was the holiday, and so persistently did Inchie implore that I should join them, that I soon found myself sitting under the trees in Uyeno Park, surrounded by my deserters, enjoying things as well as any one of them there.
A TOY-SHOP
It was on this day, out of the pure joy of the idea, that Inchie proposed to give me a real Japanese dinner, and at the same time show me some of the fine old classical dances of Japan. I remember that night so well! Inchie invited three other Japanese friends, and we all went down into the basement with rod and line, or, to be exact, with a net, to catch our own fish for dinner. It was to me novel sport chasing those lazy old goldfish round the tank. I secured a monster, which beat Inchie’s out and out for size. Inchie was in splendid form on this occasion; it was a field-night for him, and he was quite at his best. He was an enormous eater; he ate anything you chose to give him, and he enjoyed the dinner that followed our half-hour spent below stairs, I must confess, far more than I did. For although the repast was of the very best quality, it was after all Japanese, which statement speaks for itself, as every one knows that Japanese food does not by any means commend itself to the British palate. There was our just-caught fish cooked with bamboo, meat of different sorts, and many varieties in the soup character, some of which were not bad. As for the Sake, it tasted like bad sherry; but it had a most exhilarating effect on Inchie, and in a very short time produced in him a most natural and joyous frame of mind which enabled me to see a side of his disposition that under ordinary conditions would never have come to the surface. One of the courses of this dinner of dinners was a chicken, provided out of deference to my European tastes, and Inchie carved it. It was a muscular bird; but Inchie carved it with a pair of large chopsticks as I have never seen a chicken carved before in any part of the globe. Not even Joseph of the Savoy with his flourish of fork and knife in mid-air could compete with Inchie and his pair of wooden chopsticks. No knives nor fingers were used; but the whole was limbed, cut up, and served in less than the period that Joseph would take in his skilled dexterity.