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House & Garden 
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Thirty-two pages of sterling values — all 
from “The Linen Store”—-all selected with 
utmost care from our comprehensive stocks. 
Here is the McCutcheon Illustrated Fall and 1 j 
Winter Catalogue No. 44 —a book of genuine 1j 
delight to the discriminating shopper. 
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Occupying eight pages are illustrations por- 1 1 
traying widely varied types of Pure Linen 1j 
Handkerchiefs. 
Then seven pages of exceptionally attractive, 11 
yet moderately priced, Table Linens includ- 11 
ing Damask Linens, and lovely Fancy 11 
Linens. 
1 | # # | 1 
Immediately following, are three pages of 1 1 
Household Linens of standard McCutcheon 11 
values and exceptionally moderate prices. 
Pages of New Neckwear, Sweaters, Lingerie, 1§ 
Negligees, Knit Underwear, Hosiery, Laces 
and Embroidery, Dress Fabrics, and for the 11 
little folks, Underwear, Dresses and Suits. 
Then, finally, a page of Haberdashery, espe- 1| 
dally selected for the very particular man. 
Send for the New Catalogue No. 44 to¬ 
day. It will solve many shopping problems. 
Mailed, free of course, at your request. 
James McCutcheon & Co. I| 
Fifth Avenue, 34th and 33d Sts., New York |j 
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The Japanese Tea Ceremony 
(Continued from page 72) 
the direct contact between them is un¬ 
deniable. In modern times the relation 
does not necessarily exist, but indirectly 
one is in touch with the other.” 
A Tea Drama 
Okakura-Kakuzo writes (The Book 
of Tea) “The tea-room was an oasis in 
the dreary waste of existence, where 
weary travelers could meet to drink 
from the common spring of art-appreci¬ 
ation. The ceremony was an impro¬ 
vised drama, whose plot was woven 
about tea, the flowers and the paint¬ 
ings. Not a color to disturb the tone 
of the room, not a sound to mar the 
rhythm of things; not a gesture to ob¬ 
trude upon the harmony, not a word to 
break the unity of the surroundings, all 
movements to be performed simply and 
naturally—such were the aims of the 
tea-ceremony.” Again this author writes 
“Manifold indeed have been the con¬ 
tributions of the tea-masters to art. 
They completely revolutionized the 
classical architecture and interior deco¬ 
ration. ... All the celebrated gardens 
of Japan were laid out by the tea- 
masters. Our pottery would probably 
never have attained its high quality of 
excellence if the tea-masters had not 
lent to it their inspiration, the manu¬ 
facture of the utensils used in the tea 
ceremony calling forth the utmost ex¬ 
penditure of ingenuity on the part of 
our ceramists. . . . Many of our textile 
fabrics bear the names of tea-masters 
who conceived their color and design. 
It is impossible indeed to find any de¬ 
partment of art in which the tea-mas¬ 
ters have not left marks of their genius. 
In painting and lacquer it seems almost 
superfluous to mention the immense 
service they have rendered.” 
For Collectors 
Collectors of Japanese art objects will 
find many beautiful pieces connected 
with the Cha-no-yu still attainable. 
New York, Boston, Philadelphia, Wash¬ 
ington, Chicago and San Francisco are 
excellent browsing grounds, and the 
great public sales of oriental art objects 
held in New York throughout each sea¬ 
son for which carefully prepared de¬ 
scriptive catalogues go out in advance 
to permit the bidding by mail of dis¬ 
tant collectors often disperse collections 
that contain Cha-no-yu treasures which 
chance so often places within the pos¬ 
sibilities of a moderate purse. The 
Japanese Nihon Fuzoki Shi gives the 
following list of Cha-no-yu utensils of 
special importance: Cha-ire, Tea-jar; 
Cha-ire Fukuro, Silk bag for enclosing 
the tea-par; Cha-sen, the Tea-whisk; 
Haboki, the Feather Brush; Kogo, In¬ 
cense Box; Gotoku, Kettle-holder; Hai- 
no-Nabe, Ash-box; Cha-wan, Tea Bowl; 
Ido-cha-wan, also Tea Bowl; Tem- 
moku, a large Tea Bowl; Fukusa, Silk 
Cover; Cha-kin, Tea Napkin; Chasazi 
or Chahi, a spoon-shaped Tea-measure; 
Hishaku, Water-dipper; Hibashi, Fire 
Tongs, used like chop-sticks; Kwan, 
Split Rings to lift the kettle; Kama, 
Kettle; Furo, Stove used in summer; 
Mizu-zashi, Fresh-water Jar; Haijo, 
Tool used in arranging the ashes with 
a surface pattern; Chizukei, Bamboo 
Flower-stand; Kake Hana Ike, Hang¬ 
ing Flower-basket; Jizai, Pot-hook for 
suspending kettle above the fire; Kama- 
shiki, Bamboo Mat for the kettle; 
Setto, Cover for the Stove; Kankei, 
Lamp-stand; Ro, Fireplace Iron Frame, 
for winter use; Sumi-tori, Charcoal 
basket; Sukia Ando, Paper Lantern; 
Mizu Koboshi, Waste Basin; Cha-usu, 
Tea-mill. Of course, the collector will 
turn to the Tea-jars, Tea-bowls, Lacquer 
Boxes, Bronze Vases and Incense-burn¬ 
ers for his field. 
Japanese Pottery 
The Japanese pottery is most varied. 
Mr. Charles Holme says “Some wares, 
such as the ancient ones of Shigaraki 
and Iga, are fashioned in an earth al¬ 
most as coarse as fine gravel. Others, 
such as those of Satsuma and Ise, are 
of great fineness, and the porcelain of 
Hirado is justly celebrated for the ex¬ 
treme delicacy of its paste. The Raku 
ware of Kyoto is somewhat soft and 
tender, while the products of the Bizen 
province have an almost metallic hard¬ 
ness . . . the soft paste of the Raku 
bowls, destined to contain hot tea, and 
by the custom of the Cha-no-yu to be 
clasped in both hands in the act of 
drinking, is especially suitable, being a 
feeble conductor of heat, to the pur¬ 
pose required. A bowl made of it 
could not fail to be much more agree¬ 
able in use than one of porcelain; and, 
moreover, it would retain the heat in 
the liquid for a much longer period. 
The remarkable hardness of Bizen stone¬ 
ware adapts it to use as incense-burners 
or pots to contain fire, and it is there¬ 
fore often employed for that purpose. 
... It is a noteworthy fact that on 
most examples of old Japan ware, how¬ 
ever they might be otherwise enameled 
or decorated, certain portions were left 
uncovered, so as to expose the earth of 
which they were composed. This is 
especially the case in jars and bowls 
used in the Tea Ceremony. The glaze 
upon these was usually so applied as 
to leave bare the lower exterior part of 
the vessel. This method had two ad¬ 
vantages: the bottom of the object was 
kept clear of the irregularities that 
would be caused by the uneven running 
of the glaze upon it, and it permitted 
the earth to be inspected and criticized 
by the guests—an important part of 
the ceremony.” 
Korean Pottery 
The Japanese have always valued 
the early Korean potteries most highly, 
and the collector will, of course, hope 
to add some examples of such wares to 
the Japanese wares of Iga, Kyoto, Sat¬ 
suma, Seto and Soma. Even in the 
time of Taiko Hideyoshi a sum amount¬ 
ing to several thousand dollars was not 
thought too high a price to pay for 
some rare Tea Bowl of Seto Ware, and 
still greater prices were then paid for 
rare Korean bowls. 
An outline of the various sorts of 
ceramic wares of Japan cannot well be 
given here within the limits of this 
article; the writer's intention has only 
been to suggest to the lover of things 
beautiful the wealth of interest to be 
found in the art objects of the Japanese 
Tea Ceremony. 
