SWORD-FURNITURE
duce admirable decorative effects by combining metals of various colours; his range of motives was almost limitless, and the poetic feeling of some of his designs gives them a charm quite independent of their grand technique.
The difficulty experienced in attempting to set down any record of the metal-workers in the nineteenth century is that quite an embarrassing number of artists reached a standard entitling them to notice. The greatest do not stand as far above the general level as did the masters of preceding epochs, but, on the other hand, the general level in the nineteenth century was higher than it had ever been before. It can be said with confidence, however, that no school of experts contributed so much to the treasures of the time as did the representatives and disciples of the Ishiguro family. According to strict chronological order, this family should have been included in the annals of the eighteenth century, for its founder, Masatsune, who also must be called one of its greatest representatives, was born in 1757 and died in 1828. He is placed here, however, not only because much of the finest work of his mature years was executed in the nineteenth century, but also because all his successors and pupils flourished during the latter. The Ishiguro family carried the art to an extreme standard of elaboration. No subject was too intricate or too difficult for them, and it is probable that their works figure largely in foreign collections, for technical beauty and richness of general effect are qualities which appeal at once to the average dilettante. Masatsune had three art names—Jimiyo, Tōgakushi, and Jikokusai—and during his youth he called himself Koretsune. He is thus often
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