72 
House & Garden 
aszs 
owers* 
MarkH.G.M 9-20 
Chinese Chippendale 
Enqraved Decoration 
Sizes 8 to 18 inches 
in height 
Vases Designed- 
decree of importance. 
$ket<Ties Submitted 
Jewel ere ^Silversmiths* Stationers’ 
Philadelphia 
Simple Upholstery 
(Continued from page 70) 
the top, sides, and ends baste securely 
a thick layer of cotton batting, turn 
the cover and proceed to fill it with 
hair, tow, or excelsior, packing it firmly. 
Begin at the farther corners, stuffing 
each very tightly and then filling in 
between them. Continue filling from 
the sides toward the center, always 
shaking and spreading the material with 
the hands to prevent lumping, and pat¬ 
ting the cushion on the outside to keep 
it flat and the edges well squared. 
When no more will go in, sew up the 
seam and use the regulator. 
Now measure off for the buttons, 
placing pins where they are to go. 
Four to 5" is far enough apart, the 
distance being determined by the width 
and length of the cushion. Button 
and tie according to directions given for 
the chair back, being careful to insert 
the needle straight, working from the 
center toward the ends and tying firmly 
and evenly. When carefully done, these 
home-made cushions will keep their 
shape for years. A second cover may 
be put over the first, and the latter then 
becomes the casing which the profes¬ 
sional makes as a foundation over which 
the outside cover is fitted. 
Pillows a-plenty you must have, for 
davenport, easy chairs, window seat, 
and porch. We mean the honest-to- 
goodness comfortable ones, not the 
fussy, round, shirred boudoir variety, 
but the fat, square ones that make a 
good resting place for a weary back or 
a tired head. They should not be 
smaller than 18" square nor larger than 
24". For sofa ends they may be ob¬ 
long, 16" by 26". They may. be cov¬ 
ered with cretonne, plain or block-print 
linen, silk, rep, damask, velour, tapestry, 
or a handsome embroidered square, ac¬ 
cording to the furniture with which 
they are to associate. On a plain dav¬ 
enport it is better to use cushions of 
figured material the colors of which 
harmonize with the covering; while on 
a tapestry covered piece the plain pil¬ 
lows should be a color which harmon¬ 
izes with it. In making the pillow 
covers stitch around all four corners, 
leaving the opening at the middle of 
the side or end and blindstitch it. The 
edges may be piped, bound, box-seamed, 
or corded. 
In all upholstery work it is very im¬ 
portant that in piecing material the 
design should be perfectly matched and 
the nap run the same way. Therefore, 
in estimating the amount needed, espe¬ 
cially if the figure is large, allow some¬ 
thing extra. Certain large set patterns 
must be centered on the seat and back, 
which calls for generous measurement. 
The Japanese Tea Ceremony 
(Continued from page 35) 
—urbanity, purity, courtesy, and im¬ 
perturbability—and little as such a cult 
seemed adapted to military men, it 
nevertheless received its full elaboration 
under the feudal system. 
The Early Ceremony 
In the Ashikaga Period the guests 
who had assembled for the Cha-no-yu 
partook first of a repast, following 
which they were conducted into the 
garden to contemplate its beauties, 
thence to the arbor-room of the Tea 
Ceremony. On the walls of the arbor 
hung paintings by celebrated Chinese 
artists—it must be remembered that 
Chinese art has always been held as 
classic by the Japanese—and a bronze 
flower vase stood on a brocade covered 
table while a brass incense burner was 
upon another. The sliding screens of 
the arbor bore other paintings, mostly 
in the Chinese style. Other incense 
burners, boxes of red (Tsuishu) and 
black (Tsuikoku) and a tea-caddy of 
Chinese make were also in place. After 
the guests were seated on the mats, the 
Master of the Cha-no-yu brewed and 
served the tea. Perfect order and no 
confusion accompanied the operation. 
After all had tasted the tea, competi¬ 
tions in tea-tasting were held. 
In later times the Buddhist paint¬ 
ings of the Ashikaga Tea Ceremony gave 
place, more often than not, to secular 
works of art and to kakemono by Japa¬ 
nese artists. In later periods if a Cha- 
no-yu host could include a single arti¬ 
cle descended from the Ashikaga Period 
great was his joy in producing it for 
the inspection of his guests. The tea 
arbor of Ashikaga was supplanted by 
special tea rooms in the house. 
In the Tea Arbor 
James Lord Bowes says in his volume 
on Japanese Pottery “a small garden 
would be arranged so as to resemble 
as closely as possible a natural land¬ 
scape, to give the idea of the feeling 
of peaceful seclusion which has always 
been associated with the ceremony. 
When the guests were assembled the 
house was kept entirely quiet, the 
servants being sent away, and the mas¬ 
ter of the house himself waiting upon 
the guests and preparing tea. The for¬ 
mer, leaving their swords outside the 
house, would be welcomed by the mas¬ 
ter, who would arrange the various 
utensils required. While he prepared 
the tea with water boiled the previous 
day, the guests were allowed to inspect 
the various implements—the box con¬ 
taining perfumes to be thrown upon the 
charcoal fire, the tea-bowls, etc. The 
tea used was in powder, and was pre¬ 
pared both as a thick (Koi-cha) and as 
a thin (Usa-cha) beverage, and the most 
minute and exact instructions are set 
forth for its preparation. All the vari¬ 
ous implements had their prescribed 
uses set forth, and when the tea was 
made, it was drunk in accordance with 
rules which were observed with the 
greatest exactitude. When the host had 
prepared the beverage, the principal 
guest approached and received the cup 
[bowl ] from him; this he carried to his 
place, expressing respectful thanks to 
the master for the honor done him, and 
at the same time apologizing to the as¬ 
sembled Chajin [Tea Ceremony guests] 
for taking the first sip; he would then 
admire the color and consistency of the 
tea, and, after quietly and thoughtfully 
tasting it two or three times, pass it on 
to his neighbor. In this way the cup 
passed from Chajin to Chajin, until 
it was returned to the hand of the 
master, who would place it in the bag 
from which it was taken.” 
From this we see that the Cha-no-yu 
was not a tea-guzzling bout, but rather 
an assembling for intellectual pastime 
initiated by the performance of a rite 
that symbolized much to the Japanese 
mind. An anonymous Japanese writer 
has said “Tea has a taste of a mellow, 
yet astringent quality. These character¬ 
istics correspond to the basis of the 
Zen sect. Religion has its basis in con¬ 
templation, and yet sight, taste, scent, 
oral sensation—all these faculties are 
connected with contemplation. 
“In one sense, the Tea Ceremony may 
apparently be regarded as one which 
secularized and rather deteriorated 
sacred religion. But on the other hand 
is not the Tea Ceremony a kind of es¬ 
thetic culture which popularized the 
profound and lofty spirit of the Zen 
sect? In the Ashikaga Period especially 
(Continued on page 74) 
