Golden Days
signs. One etches these patterns on the copper base, following Nammikawa's delicately traced outlines: another bends and fastens the wires on the etched lines, and a third coats the joinings with a red oxide that, after firing, unites the wires more firmly to the copper. Others dot the paste into the cell-like spaces, or sit over tubs of water, grinding with fine stones, with charcoal, and deer-horn the surface of the pieces that have been fired. Nammikawa adds the master-touches, and after conducting the final firing, himself gives them the last incomparable polish, after his men have rubbed away for weeks. These workmen come and go as they please, working only when the spirit moves them, and doing better work, the master believes, when thus left to their own devices. All of them are artists whose skill is a family inheritance, and they have been with Nammikawa for many years. The most skilful of these craftsmen receive one yen a day, which is extravagant pay in this land of simple living, and shows in what high esteem they are held. A few women are employed in the polishing and the simpler details, and. while we watched them, were burnishing a most exquisite tea-pot covered with a fine foliated design on pale yellow ground. This treasure had been bought by some connoisseur while the first rough filling of paste was being applied, and he had bided his time for a twelvemonth, while the slow processes of filling and refilling the cells, and firing and refiring the paste had succeeded one another until it was ready for the first grinding.
Fifty or sixty small pieces, chiefly vases, caskets, and urns, three and four inches high, and ranging in price from thirty to ninety yen each, are a whole year's output, and larger pieces are executed by special order at the same time with these. Nammikawa does not like to sell to the trade, and has been known to refuse the requests of curio merchants, making his customers pay more if he
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