JAPAN
surface consisting of dark grey patina over which darker patches are scattered, forming a clouded pattern. Some of these utensils are very valuable, more so even than the same weight of silver, especially when the mottling is uniform and well developed. The vessel is never polished, but only rubbed from time to time with cotton or silk cloth, the result being that the surface gradually becomes coated with a fine grey patina of two tints, the lighter forming the ground. The action of the air and the gentle rubbing make visible one or more of the alloys which have fallen out in cooling.[1]
Reference must also be made to a recently introduced alloy consisting of eighty-five parts of lead and fifteen of antimony. The compound is largely used to manufacture cheap and gaudy utensils, such as flower-vases, cigar-trays, tobacco-ash-holders, etc., which are loaded with decorative designs in the repoussé style, gilded in parts or otherwise coloured. This "antimony ware" is cast in brass moulds. Its effect is not unpleasing, but it can scarcely be classed among art-products. The inventor (1885) was Suzuki Kichigoro.
The Japanese artist, or artisan, may be generally described as modest, unassuming, and unavaricious. The gain that his works bring is the last thing he considers. Affluence comes to him rarely, but to gird at the companionship of poverty would be to proclaim himself not an artist but a tradesman.[2] The records of all these men and the traditions relating to them indicate the prevalence of a rooted belief that to be great in art a lofty and benevolent disposition is essential. Kaigyokusai's habit of giving away all his
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