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THE ART OF CASTING BRONZE IN JAPAN. 



Two other similar bells were cast duriug the first half of this century, 

 seventeenth, details of which are given iu the following table: 



Table I. — Approximate dimensions, etc., of four of the largest hells in Japan. 



a The weight of this hell is often erroneously given hj' writers as 74 tons. 



The exact average thickness of these bells can not be ascertained 

 without special measurements, which are not permitted, but it can not 

 exceed 8 inches, the thickness I have assumed for the above calcula- 

 tions, and may possibly be somewhat less. The casting of a large bell 

 in old times in Japan was an important event, and was accompanied by 

 religious ceremonies and popular rejoicings. On the day appointed for 

 running the metal into the mold a grand festival was held at the tem- 

 ple in the grounds of which the founding operations were performed, 

 and people of all ranks came from far and near with contributions, many 

 with offerings of mirrors, hairpins, and metal ornaments, to be added 

 to the bronze in the furimces. On one occasion, that of the founding 

 of the great bell of Zo-joji, the Shoguu himself (lye-initsu) was not 

 only present, but took i)art in the direction of the operations. In 

 succeeding years the day was not forgotten, but its anniversary was 

 celebrated by temple feasts. 



The fame and repute of this " golden " period in the bronze founder's 

 art does not however rest on the above castings, which are cliietly 

 remarkable for their size and weight, but on those now to be described, 

 many of which are masterpieces of design, modeling, and technical 

 skill. 



The oldest of these are the bronzes cast for the mortuary chapels and 

 tombs of the early Tokugawa Shoguns and members of their families. 

 At the famous mausoleum at Xikko there are some grand examples, one 

 of the most notable being the tomb of lyeyasu (the first Tokugawa Sho- 

 gun, died 1604 A. D.), a fine casting in bronze, with bronze gates, dis- 

 tinguished by impressive simplicity and chasteness of design (PI. LXV). 

 In front of the tomb are the three ceremonial ornaments (Sangusoku) of 

 the Buddhist altar, viz, a vase, incense burner, and candlestick, all of 

 the severe style of the period. 



The gates (PI. LXVI) are splendid examples of bronze founding. 

 Almost their whole surface is covered with delicate diaper and tloral 

 patterns, upon which ground the bolder ornamentation is molded in relief. 

 These consist of representations of the ''chakra," or Buddhist wheel of 



