halves by a high screen, and moving on a pivot. All the
acting took place on this minor stage, and whenever it
became necessary to shift the place of action, instead
of all the elaborate changing of side-scenes and furniture,
a turn was given to the platform, and what had
been at the back before now presented a new face
with actors in their places,— a very ingenious piece of
machinery.
In the evening I sauntered in the streets, always
escorted, to witness the lantern-feast, which is an
exceedingly pretty sig h t; thousands of variegated
coloured lamps throwing their dim light upon a dense,
slowly-moving crowd, bent upon the fulness of enjoyment
the hour brought forth.
The contents of bazaars and factories require a
special notice, as few nations display such artistic
taste in all their productions as the Japanese; those
in porcelain especially are of the most beautiful kind
as regards material, model, and decoration. The
famous egg-shell and the Satzuma crackle-ware are
now well known in England, but there are other
manufactories at Osaka, the palatial Venice of Japan,
and at Kioto, the Mikado’s capital, producing cups,
jars, and vases of exquisite beauty, which very rarely
find their way out of the country, where they are
highly prized ; besides, there is the Kâgawa china in
brick-dust colour, and the Mono-saki, made at Okasaki,
half way between Yeddo and Osaka. Of the designs,
those representing flowers and insects are undoubtedly
the most beautiful, true to nature in drawing as well
as colour.
Equally excellent are the works in bronze and other
metals. I have seen some swords-hilts and damascened
blades which are not exceeded in beauty anywhere,—
their curious little tobacco-pouch clasps are another
speciality; however simple the design, a leaf with a
fly upon it or a peacock’s feather, it is perfect of its
kind. The large bronze vases, now rarely made on
account of their costliness, show what matchless effects
can be obtained by embossing and inlaying with other
metals, notably silver and gòld,—some of the Japanese
repoussé and chasing would have done credit to a
Cellini. At the sale of a Damio’s effects I picked up a
pair of vases, sixteen inches high, showing most skilful
manipulation by every process metal-work is capable
of; the people, however, know so well the value of
these articles, that it was only by strategy I succeeded
in acquiring them even at a fancy price, for they,
like the Chinese, avoid letting foreigners even see
their finest works in metal or china, for fear they are
carried out of the country. In cloisonné the Japanese