248 Mr: John O. Pelton on 
meet with will date from the fifteenth century—probably figures 
somewhat rudely carved, but thickly lacquered, originally black, 
but now brown from the fact of the substratum of red lacquer 
showing through the black surface. There are also some old 
perfume boxes that may be met with, their rims heavily cased in 
pewter. These boxes and the figures are usually described as 
Kamakura lacquer. The earliest evidence of any great artistic 
merit is found in the work of Honnami Koyetsu, one of the most 
skilful of the early masters; his designs, though somewhat 
rough, are bold and well conceived, and reveal a decorative 
genius of the highest order. From this master the great Korin 
undoubtedly derived much of his inspiration. 
Korin was perhaps the most eminent, and certainly the most 
original, of the great masters. I must confess that his style 
is not altogether my idea of perfection in lacquer ; his designs, 
bold even to audacity, seem somewhat out of place in such a 
delicate material. But when we hear the superlative admira- 
tion with which his works are viewed by the most competent 
authorities, and with what avidity desirable specimens are 
acquired, it is well to avoid too hasty a judgment upon them. 
The vigour of his designs, in which he frequently uses mother- 
of-pearl and pewter, the rich satisfying hue of his gold, and the 
decorative power he employed so effectually, have gained for his 
works a unique place in the estimation of connoisseurs. His 
style, however, though apparently simple, is difficult to imitate ; 
hence in the hands of his followers it soon fell into disrepute, 
and no real effort seems to have been made to revive it until 
the present century, when works were produced which have 
often been acquired as genuine Korins. 
Contemporary with Korin arose a galaxy of masters whose 
names are immortalised in their sumptuous works ; the schools 
of Korin, Ritsuo, Shunsho, Koma, and Kajikawa, and others, all 
named after their respective founders, rivalled each other in 
beauty of workmanship and artistic power. I am fortunate in 
possessing specimens of the best work of some of these great 
schools—works, I think, which justify the glowing eulogy of the 
accomplished French student, Louis Gonse, “that works in 
lacquer are the most perfect objects which ever issued from the 
hands of man.’’ 
Another master who displayed great originality was Ritsuo, 
who lived from 1662-1746. His authentic works are rare. He 
inlaid some of his finest pieces with pottery made to imitate 
shells, &¢., so true to nature that they would easily deceive the 
careless observer. In many cases lacquer played but a sub- 
ordinate part, the groundwork being simply the grain of the 
natural wood, the soft parts being rubbed slightly away, leaving 
the hard grain in relief. The effect is very fine. His signature, 
