the manner in which tea "regulates the five viscera and expels evil spirits," and rules were given both for making the infusion and for drinking it. The ceremonial which Eisai introduced was religious. True, it comprised a simple dinner; but its main feature was a Buddhist service, at which the faithful worshipped their ancestors to the beating of drums and burning of incense. A tinge of the religious element has adhered to the tea ceremonies ever since. It is still considered proper for tea enthusiasts to join the Zen sect of Buddhism, and it is from the abbot of Daitokuji at Kyōto that diplomas of proficiency are obtained.
How long Japanese tea-drinking remained in this first religious stage is not clear. This we know, that by the year 1330, the second or luxurious stage had already been reached. The descriptions of the tea-parties of those days read like a chapter of romance. The Daimyōs who daily took part in them reclined on couches spread with tiger skins and leopard skins. The walls of the spacious apartments in which the guests assembled were hung, not only with Buddhist pictures, but with damask and brocade, with gold and silver vessels, and swords in splendid sheaths. Precious perfumes were burnt, rare fishes and strange birds were served up with sweetmeats and wine, and the point of the entertainment consisted in guessing where the material for each cup of tea had been produced; for as many brands as possible were brought in, to serve as a puzzle or jeu de société—some from the Toga-no-o plantations, some from Uji, some from other places. Every right guess procured for him who made it the gift of one of the treasures that were hung round the room. But he was not allowed to carry it away himself. The rules of the tea ceremonies, as them practised, ordained that all the things rich and rare that were exhibited must be given by their winners to the singing and dancing-girls, troupes of whom were present to help the company in their carousal. Vast fortunes were dissipated in this manner. On the other hand, the arts were benefited, more especially when, towards the close of the fifteenth century, the luxurious Yoshimasa, a sort of Japanese Lorenzo de'
