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aid the gold powder is well rubbed in with the lacquer or varnish. The work is then left to dry for the space of about twenty-four hours, after which the pattern is lightly rubbed over with charcoal made from a particular wood, which produces evenness of surface; the work is then rubbed with polishing powder and afterwards carefully wiped. This description applies to the mere outlining of figures, birds, flowers, etc., on any given surface or groundwork. There still remains a good deal of finishing work, such as the tracing of leaves on trees, the petals of flowers, the wings of birds, etc., according to the particular subject in hand; into all of this, gold powder largely enters, and the “working in” requires a light brush and skilful hand, to ensure an even mixture of the powder and varnish. After this has well dried, a kind of lacquer varnish, known as Toshinô urushi, is used, and the whole then polished with horn dust; the polishing process is done with the finger and is continued until the gold shows out well.
Until about seventeen years ago, the most honourable business among the mechanics of Yedo was that of gold-lacquerer. When the daughter of a Daimio was married, it was customary to present her with a kango or palanquin, a quantity of toilet articles and boxes, all having the family monogram, or device in gold, on black or other lacquer. The artists in gold lacquer were not permitted to work at their own houses, but were obliged to go to the yashikis and work there; it being understood that their charge, however exorbitant, should not be disputed. They were great people in their own way, and always wore silk clothes on such occasions, because cotton was supposed to damage such fine work. At their own houses there were generally employed several apprentices, and it was a profession held in such esteem, and the profits derived from it were so ample, that even the learners would refuse to be adopted into the families of flourishing merchants; but since the changes in the Government and Constitution, there is no longer any demand for these valuable articles, and the business has sunk into total decay. Of old, the skilful artist could lacquer with gold as many as three hundred badges in a single day; and as this lacquer was always in demand, he was never idle. There are still a few gold-lacquerers in the empire, but they have very little patronage owing to the impoverished condition of the disinherited nobles. Mere common lacquerers are plentiful, but are a different class entirely from the workers in gold. The lacquer ware, which at the present time is chiefly manufactured at Yedo, shows much patient execution, and good taste in ornamentation. But while the knowledge of this art can scarcely be said to be lost, it is vain to look in the workshops of to-day for those fine specimens of skill and workmanship which characterized the highly-wrought examples of former times. The artist of a bygone period worked less for gold than the smiles of his patron Daimio, and the satisfaction of his own artistic conscience. The measure of remuneration is no longer the same; the workman toils quickly, impelled by the wants of the hour and the haste to grow rich, and copies the designs which a starved imagination forbids his inventing, and thus is witnessed the same sad decadence as in other artistic workmanship in Japan.
