Publisher's Synopsis
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1902 edition. Excerpt: ... arrangement in set and orthodox terms. Sometimes this was done by each guest as he entered the room. In this illustration (Fig. 8), taken from the " Matsu-cha Hitori Geiko," etc., one guest is seen sitting opposite the Tokonoma in an attitude of rapt admiration, while another has just entered the low doorway. The simplicity of the flower arrangement is well shown in the example given here (Plate IV.), which is a composition by Mr. S. Kajima, made expressly for this illustration. Though extremely simple in its elements, it has a most pleasing and elegant effect. Perhaps, however, the arrangement most characteristic of the ceremony will be found in the basket-work flower-holder (see Fig. 2) hooked on to the wall or the side-post of the Tokonoma. This is shown also in situ in the last figure (Fig. 8), and again further on in Fig. 15. Red flowers, or those with a strong perfume, were avoided. Fig. 9 shows the interior of tea-room at the Nanzenji Temple, with the guests assembled. This is an adaptation from an illustration in Morse's "Japanese Homes." The host then brought out of the small room a charcoal basket sumi-tori) containing pieces of charcoal of the prescribed size, s x IJ in. and 2 x 1 in., a feather duster (Mitsu-ba) made of three feathers, iron rings (open at one side) for lifting the kettle (Kama), and Hibashi, or fire-tongs, for arranging the coals. Marching very slowly and deliberately, he deposited these on the floor, and then returned and fetched a vessel full of ashes and a bamboo spatula, and arranged them near the fireplace, and lifting the kettle (which had already been placed on the hearth) off the fire, stood it on the bamboo mat. Plate V. consists of a group of the chief utensils employed in Cha-no-yu, Fig. 10 shows...
