Page:Eliza Scidmore--Jinrikisha days in Japan.djvu/289

 threats or harm from any of the four quarters; while the word “manji” is derived from the Chinese word “mantse,” meaning ten thousand.

The mitsu tomoyé is another universal symbol of innumerable meanings. It occurs on the crests of eight daimio families; on temple drums, lanterns, the ends of tiles, and on Daikoku’s mallet. It is variously said to represent falling snow, leaping flames, dashing water, and clouds; the thongs of a warrior’s glove, uncurling fern-fronds, the down of seed pods; the three great elements, fire, air, and water, the origin of matter, the great principles of nature, an oriental trinity. On house-tiles and ridge-poles it invokes protection from the three evils—fire, thieves, and flood, and everywhere these two mysterious symbols confront one.

Kioto abounds in curio-shops, ranging from the half-mile long row on either side of the Manjiuji to the splendid accumulations and choice art collections of Ikeda, Hayashi, Kiukioda, Takada, and the bazaar at the foot of Maruyama. At Ikedas, which is really an art museum filled with precious things, the processes of damascening and lacquering may be watched. It has been proven of late that, when patrons will pay a price to warrant the endless labor and care, as good lacquer may be made to-day as formerly. Connoisseurs admit that they are often deceived, and that they are able to tell the quality only, and not the age, of any really choice piece. The new is as indestructible as the old, if carefully made. A pin-point or a hot coal leaves no mark, a year’s bath in sea-water no trace, and amateur photographers have found it proof against the acids and chemicals of developing fluids. Yet this substance, enduring as crystal, is made by coat upon coat of an ill-smelling black varnish, which, stirred in a tub with iron-filings, and set in the 273