JAPAN
knotless pine, having elaborately chiselled and embossed metal (gilt brass) caps, sockets, and bands applied to the ends of projecting timbers, to the joints of pillars and beams, to the corners of frames (door and panel), and to the bases and necks of posts. The effect is well described by Mr. Conder as "an appearance of pale, ashen grey touched up richly with gold." In the monochromatic class may also be included structures coloured outside with vermilion red, harmonising beautifully with the green woods in which the temple stands. The polychromatic class includes the great majority of the temples and nearly all the mausolea. Externally, the colour commences "with the lintels or ties near the top of the posts or pillars. From this height the different beams and brackets, together with the flat spaces and raised carvings between, are diapered, arabesqued and variously picked out in bright colours and gilding. Such treatment imparts a light elegance to the otherwise ponderous eaves of Japanese temple buildings, and the deep sun-shadows beneath the massive projections assist in subduing and harmonising the bold contrast of colour employed. The decorator uses fearlessly the greatest variety of colours in juxtaposition, but generally separates adjoining tints by means of a white or gold line" (Conder). Internally, the scheme may be broadly described as mural paintings on a gold ground; carved panels, solid or pierced, the carving heavily gilt and
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