The owner of the second establishment lived in a blackwood cabinet--it was profanation to call it a house--alone with a bronze of priceless workmanship, a set of blackwood furniture, and all the medals that his work had won for him in England, France, Germany, and America. He was a very quiet and cat-like man, and spoke almost in a whisper. Would we be pleased to inspect the manufactory? He led us through a garden--it was nothing in his eyes, but we stopped to admire long. Stone lanterns, green with moss, peeped through clumps of papery bamboos where bronze storks were pretending to feed. A dwarfed pine, its foliage trimmed to dish-like plaques, threw its arms far across a fairy pond where the fat, lazy carp grubbed and rooted, and a couple of eared grebes squawked at us from the protection of the--waterbutt. So perfect was the silence of the place that we heard the cherry blossoms falling into the water and the lisping of the fish against the stones. We were in the very heart of the Willow-Pattern Plate and loath to move for fear of breaking it. The Japanese are born bower-birds. They collect water-worn stones, quaintly shaped rocks, and veined pebbles for the ornamentation of their homes. When they shift house they take the garden away with them--pine trees and all--and the incoming tenant has a free hand.
Half a dozen steps took us over the path of mossy stones to a house where the whole manufactory was at work. One room held the enamel powders all neatly arranged in jars of scrupulous cleanliness, a few blank copper vases ready to be operated on, an invisible bird who whistled and whooped in his cage, and a case of gaily painted butterflies ready for reference when patterns were wanted. In the next room sat the manufactory--three men, five women, and two boys--all as silent as sleep. It is one thing to read of _cloissonnée_ making, but quite another to watch it being made. I began to understand the cost of the ware when I saw a man working out a pattern of sprigs and butterflies on a plate about ten inches in diameter. With finest silver ribbon wire, set on edge, less than the sixteenth of an inch high, he followed the curves of the drawing at his side, pinching the wire into tendrils and the serrated outlines of leaves with infinite patience. A rough touch on the raw copper-plate would have sent the pattern flying into a thousand disconnected threads. When all was put down on the copper, the plate would be warmed just sufficiently to allow the wires to stick firmly to the copper, the pattern then showing in raised lines. Followed the colouring, which was done by little boys in spectacles. With a pair of tiniest steel chopsticks they filled from bowls at their sides each compartment of the pattern with its proper hue of paste. There is not much room allowed for error in filling the spots on a butterfly's wing with avanturine enamel when the said wings are less than an inch across. I watched the delicate play of wrist and hand till I was wearied, and the manager showed me his patterns--terrible dragons, clustered chrysanthemums, butterflies, and diapers as fine as frost on a window-pane--all drawn in unerring line. "Those things are our subjects. I compile from them, and when I want some new colours I go and look at those dead butterflies," said he. After the enamel has been filled in, the pot or plate goes to be fired, and the enamel bubbles all over the boundary lines of wires, and the whole comes from the furnace looking like delicate majolica. It may take a month to put a pattern on the plate in outline, another month to fill in the enamel, but the real expenditure of time does not commence till the polishing. A man sits down with the rough article, all his tea-things, a tub of water, a flannel, and two or three saucers full of assorted pebbles from the brook. He does not get a wheel with tripoli, or emery, or buff. He sits down and rubs. He rubs for a month, three months, or a year. He rubs lovingly, with his soul in his finger ends, and little by little the efflorescence of the fired enamel gives way, and he comes down to the lines of silver, and the pattern in all its glory is there waiting for him. I saw a man who had only been a month over the polishing of one little vase five inches high. He would go on for two months. When I am in America he will be rubbing still, and the ruby-coloured dragon that romped on a field of lazuli, each tiny scale and whisker a separate compartment of enamel, will be growing more lovely.