JAPAN
the contents of that brochure alone, it would be necessary to endorse the verdict which accuses them of classical severity and narrow range of motive. But there is other and more trustworthy evidence—the Manpo Zensho (complete treatise on all precious things), published in 1711, as well as a manuscript handed down through six generations of a family whose successive representatives were professional connoisseurs of sword-blades and sword-furniture. It will be worth while to quote from these compilations some of the information furnished about the works of the first six Goto masters, because not only is an insight thus obtained into Japanese views about these products of art, but also much is learned about the decorative motives chosen by these six experts between the years 1460 and 1631:—
1. Among authenticated specimens of the first six Goto masters, there are not any that have a copper ground with trees, reeds, shrubs, or flowers chiselled in relief.
2. Specimens decorated with various kinds of crustacea, or with landscapes in which living creatures do not appear, are considered of inferior quality. The same remark applies to kōgai and menuki chiselled with scattered-leaf designs only.
3. Each stroke of the chisel must be clean and even, showing everywhere strength and directness.
4. With regard to the objeets depicted, it is essential to observe that the faces of human beings must faithfully reflect the sentiments supposed to animate them. Under painful circumstances the faces portrayed by the Goto masters are always distressed; in joyful conditions, they are merry. Such is seldom the case in the works of the carvers of the branch houses (Waki-bori), or of men that make a commerce of their art (Machi-bori, or street-carvers, and Inari-bori, a term of uncertain origin). The Goto oxen are always sleek and fairly proportioned, not the gaunt, bony ani-
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