THE ART OF CASTING BRONZE IN JAPAN. 627 



all nations, but I may mention en passant — although it hardly comes 

 within the scope of this paper — another method which is essentially 

 Japanese, i. e., the casting of refined copper in canvas molds in hot 

 water. Specimens of copper so cast for the use of the bronze founder 

 are on the table. It is also used occasionally, but rarely, for silver, 

 never for bronze. 



One mode of casting they have never practiced, that is, what is 

 called the "ascending" method, in which the ingates are so arranged 

 that the molten metal enters the mold at its base and gradually rises 

 and fills its cavity. They have, however, introduced a modification in 

 the "descending," or ordinary method — which will be described later — 

 to minimize some of its disadvantages, the chief of which are, as is well 

 known to founders, the occasional formation of "cold sets"^ on the 

 core and sides of the mold, and unsoundness in the castings due to the 

 entanglement of air in the streams of metal when falling from the top 

 of a high mold. 



It will be seen from the descriptions which follow of the operations 

 of the Japanese bronze founder that, while in their general features 

 they have much in common with those of the bronze founder in Europe, 

 they present some differences of greater or less importance, differ, 

 ences which are chiefly found in certain details of manipulation which 

 are the results of the conditions under which the Jai)anese founder 

 has worked, the composition of his chief alloy, and the nature of his 

 training. 



Before proceeding to consider these operations, we will first glance 

 briefly at the founder himself. He was — as I have stated above — 

 almost without exception of the plebeian class of the people, and 

 although many at various periods were men of marvelous ability and 

 of the highest merit as artists, yet they seem never to have ranked 

 higher than artisans. Several sculptors in metal, who were specially 

 distinguished for their skill in the design and ornament of the furni- 

 ture of the sword, and many noted smiths, forgers of famous blades 

 and of armor, were indeed elevated above this grade, and had the 

 honor of receiving complimentary titles in recognition of their ability; 

 but I have not succeeded in finding a single example of an art founder 

 having been similarly honored. 



Ko special courses of study, such as were followed by painters, were 

 open to him. A knowledge of the principles and practice of his art had 

 to be obtained under a system of apprenticeship, whicli had much in 

 common with that in vogue in Europe during the latter part of the 

 Middle Ages, and in which drudgery and household work absorbed not 

 a little of his time. As an apprentice he was bound to serve his master 

 for a fixed term of years, during which his duties were not only to assist 



i^Cold sets," metal which has been splashed up against the sides of the mold or 

 core, has solidified there, and not afterwards united with the main mass of metal, 

 owing to a iilm of oxide which has formed on its surface. 



