Page:Brinkley - Japan - Volume 7.djvu/152

RV 128 when compared with simple copper-tin bronzes, even when they contain sufficient tin to enable them to hold more lead in solution than they would otherwise do. Their use is hence almost limited to the production of objects of art. And even for those art castings, such as, for example, large equestrian or other statues, where a considerable strain has to be borne by certain parts, their use is unadvisable. But in most art castings of moderate size—and even in many of colossal proportions, where the position of the centre of gravity of the mass does not cause excessive tension in any part—it is not necessary that the metal of which they are cast should possess great tenacity; for all such, these alloys are eminently adapted, and especially so, as by no others can the work of the artist's hand with all its delicate and masterly touches, be so readily and perfectly reproduced.

The above remarks apply to the ordinary bronze of temple images and utensils. There is also a yellow bronze called sentoku because the first specimen of it reached Japan in the Shuntish (sentoku, in Japanese pronunciation) era of the Ming dynasty. According to Japanese traditions, this alloy was accidentally obtained when the Chinese melted together the bronze and gold vessels of the conquered Mongols. But gold does not enter into the composition at all; the presence of the precious metal is ignorantly imagined because of the golden colour of the alloy. Copper, tin, lead, and zinc, variously mixed by different experts, are the ingredients. Its beautiful golden colour and glossy texture made it a favourite material in some workshops, and it is largely used in modern times. One very charming variety has a surface like aventurine lacquer (nashiji, or "pear ground," as it is called in Japan): that is to say, specks or flecks of gold seem to float up from the depths of the metal. This effect is obtained by heating the alloy many times in