Jinrikisha Days in Japan
erence these exquisite creations of his genius, every one of which, when placed on its low teak-wood stand, showed faultless. For two years his whole force was at work on the two sixteen-inch vases which went to the Paris Exposition, and four years were given to the Emperor’s order for a pair for his new palace. These bore the imperial emblems, and dragons writhed between chrysanthemums and through conventional flower-circles and arabesques, and the groundwork displayed the splendid red, green, russet, mottled gold, and glistening avanturine enamels, whose secret Nammikawa holds. For it is not only in his fine designs, but in the perfect composition and fusing of his enamels and the gem-like polish that this great artist excels all rivals.
In another garden, concealed by a bamboo hedge, is the tiny laboratory, and the one work-room where less than twenty people, all told, execute the master’s de-
IN NAMMIKAWA'S WORK-ROOM
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