THE ART OF CASTING BRONZE IN JAPAN. 651 



castings — the faithful reproduction of the wax model, the comparative 

 absence of retouching, the delicacy and vigor of the relief decoration — 

 are not due solely to these, but are tlie results of a combination of con- 

 ditions which are only of exceptional occurrence here. Chief among 

 these is the nature of the Japanese people, the intense feeimg and love 

 of art with which they have been imbued for centuries past, and their 

 just and enthusiastic appreciation of faithfulness in work. These qual- 

 ities have made every workman an artist, hence tlie patient and mar- 

 velous skill which we see displayed in all his work, as well on common 

 articles for everyday use as on those for the special purpose of decora- 

 tion. The training which the artist receives in the operations of found- 

 ing is also an important factor Avhicli can not be overlooked. Besides 

 these there is an esprit de corps in the staff of a Japanese art foundry, 

 which is not always found in Europe, the outcome of which is that an 

 amount of painstaking care almost incredible is exercised by all, so 

 that the work shall be as perfect as they can make it and worthy of 

 the renown of their master. 



One word only in conclusion. I think it will be admitted by all that 

 a sculptor should himself i)Ossess a practical knowledge of the technical 

 processes by which his work is to be reproduced in bronze. Now in 

 this country this knowledge can only be acquired with the greatest dif- 

 ficulty by our artists, as it does not form a part of any course of their 

 art training. I would hence repeat and indorse, with the emphasis it 

 deserves, the suggestion made by Mr. Simonds in a valuable paper on 

 "Artistic bronze casting," read before this society nine years ago, 'Hhat 

 studios should be established in connection with our national art schools, 

 where the student of sculpture could be i)ractically taught the various 

 processes incidental to his profession of molding and bronze casting," 

 and, I would add, the coloring of metals. It would seem to be a matter 

 in the encouragement and development of which our society might be 

 able to aftbrd valuable aid. There should be no insuperable difficulties 

 in carrying it out, and I am sure you will agree with me that if it were 

 carried out it could not fail to be of inestimable value to our artists, 

 and to promote in no small degree the advancement of the art of bronze 

 founding in our country. 



The magnificent bronzes which I have the jirivilege of exhibiting to 

 you tonight are chiefly from the collections of my friends, Prof. W. 

 Anderson, Messrs. W, Cleverly Alexander, Alfred Cock, E. Dillon, F. 

 Dillon, W. E. Hennell, Sir Trevor Lawrence, Messrs. E. Mills, Alfred 

 Parsons, Charles H. Eead, F. A. Satow, W. Harding Smith, E. Phene 

 Spiers, J. M. Swan, H. V. Tebbs, and M. Tomkinson, to all of whom I 

 desire here to express my sincere thanks for having so kindly lent them 

 for the illustration of my paper, and especially so as I feel that any 

 interest it may have had is largely due to them. I also owe many 

 thanks to M. Cernuschi for his kindness in permitting me to have pho- 

 tographs taken of the fine specimens in his unique collection, which I 

 have shown you on the screen. 



