,,victoria  ,,albert ,,museum           
,,catalogues          ,,tools ,,and     
,,materials ,,illustrating ,,the        
,,japanese ,,method ,,of                
,,colour-,,printing        ,a           
,,descriptive ,,catalogue ,,of ,a       
,,collection ,,exhibited ,,in ,,the     
,,museum                                
,by ,edward ,strange          ,london   
,,published ,,by ,,his ,,majesty',s     
,,stationery ,,office    #aiac          
,,the ,,making ,,of                     
,,colour-,,prints--,,women ,,as         
,,engravers4    ,,utamaro4--,yedo       
,meibutsu ,nishikiye ,kosaku4 8,the     
making of colour-prints1 the  famous    
product of ,yedo3 after the engraver's  
rough engraving the design is           
carefully carved40  ,an illustration of 
the carving of wood-blocks              
fancifully represented as being done by 
women4 ,from a print in the             
,victoria and ,albert ,museum4 ,j4      
#ejdj4            ,,contents            
,,prefatory ,,note  ,,historical ,,note 

,,the ,,drawing  ,,cutting ,,the ,,block
  ,,printing  ,,paper  ,,books ,,of     
,,reference            ,,prefatory      
,,note      ,this pamphlet has been     
prepared by ,mr4 ,edward ,f4 ,strange1  
of the  ,department of ,engraving1      
,illustration and ,design1 for use      
primarily in  connection with a         
collection of ,tools1 ,materials and    
,examples1 specially  brought together  
and now exhibited in the ,museum1 to    
illustrate the  technique of ,japanese  
,colour-printing from wood-blocks4 ,the 
descriptive  matter has been somewhat   
amplified1 in order to render it of     
value to  those who cannot immediately  
refer to the ,museum collections4       
,the works of reference consulted1 are  
named herein2 and acknowledgment  must  
also be made to ,mr4 ,hogitaro ,inada1  
for translations from the  ,japanese1   
kindly supplied by him4                 
,,cecil ,,smith4  ,victoria and ,albert 
,museum1 #aiac4                         
,,list ,,of ,,illustrations             

,,utamaro4--,yedo ,meibutsu ,nishikiye  
,kosaku4 8,the making of colour-prints1 
the  famous product of ,yedo3 after the 
engraver's rough engraving the design is
  carefully carved40  ,an illustration  
of the carving of wood-blocks           
fancifully represented as being done by 
women4 ,from a print in the  ,victoria  
and ,albert ,museum4 ,j4 #ejdj4         
,,diagram3----,method of framing a block
 to prevent warping4  ,,diagram3--,the  
,baren4--,its internal construction     
,,diagram3--,the ,baren4--,position of  
pad in sheath4  ,,diagram3--,the        
,baren4--,method of use4                
,,diagram3--,printer's ,desk4           
,,hokusai4--,original drawing for the   
key-block of an unpublished colour-print
  in the series called 8,the ,hundred   
,poets explained by the ,nurse40 ,a     
junk1  with straw sail1 conveying three 
travellers2 at the bow a breaking wave4 
,at the top right-hand corner is a poem 
by ,hoshoji no ,nyudo ,saki no          
,kwampaku ,daijo ,daijin4  ,o'er the    

wide sea plain1 _/ ,as ,i row and look  
around1 ,it appears to me _/ ,that the  
white waves1 far away1 _/ ,are the      
ever-shining sky4 ,from a drawing in the
 ,victoria and ,albert ,museum4 ,j4 ,d4 
#addg4  ,,toyokuni4 ,i4--,working proof 
from the key-block of a colour-print4 ,a
  theatrical scene2 with the actors     
,nakayama ,tomisaburo and ,ichikawa     
,komazo  in the parts of the ,geisha    
,sankatsu and ,hanshichi4  ,the artist  
has added a  wash of red colour to the  
print1 with the following ,,ms4 note to 
the  printer1 8,please gradate the      
colour like this40 ,from a print in the 
,victoria and ,albert ,museum4 ,j4      
#hdid4              ,,historical ,,note 
,the process of colour-printing from    
wood-blocks1 used in ,japan from the    
early part of the #ahth century1 has    
much in common with that of the         
so-called chiaroscuro wood-cuts first   
produced in ,italy and ,germany  during 
the #afth century1 of which the work of 
,andrea ,andreani 7#aedj-afbc7  supplies

 good examples4 ,it is possible that the
 ,japanese method was  derived from this
 source1 either directly or by way of   
,china4 ,japanese  tradition ascribes   
the invention to ,takekawa ,minosuke    
7,manji ,period1 ,a4,d4  #afeh-affj72   
and a volume of ,costume ,designs in the
 ,museum1 dated #affg 7,o#d4  ,c4 #bj71 
is printed in colours1 only one1        
however1 being used on each  plate4 ,the
 ,chinese are known1 with certainty1 to 
have employed this  process before the  
end of the #agth century2 but no        
,japanese colour-print  has yet been    
recorded1 which can be placed1          
authentically1 earlier than  the second 
quarter of the #ahth century4 ,credit   
for the first production of  them is    
generally given to ,torii ,kiyonobu     
7#affd-agbi72 but the greatest          
development was due to ,suzuki ,harunobu
 7died ,a4,d4 #aggj1 aged #fg years74   
,japanese authorities say that the      
improvements popularized by this artist 
were invented by an engraver named      

,kinroku1 in conjunction with a printer2
  and that ,harunobu1 employing them to 
reproduce his pictures1 about the  year 
#agfe1 thus laid the foundation of a    
school of artists who found their  chief
 occupation in designing for this class 
of work4 ,katsugawa ,shunsho  7died     
,a4,d4 #agib1 aged #fg years7 developed 
the process still further2 and  it      
reached its highest technical level     
before the close of the #ahth  century4 
,soon after the year #ahjj1 a gradual   
decline is seen2 which  manifested      
itself both in the increase of the      
number of blocks used1 and  in the loss 
of quality in the colours4 ,however1    
many prints of remarkably  high         
technical excellence were still produced
 up to about the year #ahfd2  soon after
 which time1 all refinement both of     
engraving and printing seems  to have   
been lost4 ,the last #bj years or so1   
have1 however1 witnessed a  sort of     
revival1 by no means without merit in   
its way2 and the adaptation  of the     

process to the requirements of          
book-illustration and the  reproduction 
of works of art1 has reached a          
remarkably high standard in  such       
publications as the ,kokka and those of 
the ,shimbi ,shoin4    ,it is not       
unimportant to add that this process1   
sometimes modified in  detail1 has been 
revived in ,europe2 and is now practised
 by a considerable  number of artists4  
,the ,department of ,engraving1         
,illustration1 and ,design  contains a  
representative collection of their      
productions1 including a  consecutive   
set of working proofs 7,e4 #bj-bf1      
#aijd7 of a print by ,mr4 ,j4 ,d4       
,batten and ,mr4 ,morley ,fletcher1 who 
were the first to use the method in     
,england4 ,the collection also includes 
a similar set of working proofs of  the 
modern development of the process1 as   
used for the reproduction of  paintings 
by ,old ,masters by the ,shimbi         
,shoin7,e4 #ahfb-bjdc1 #aiaj74          
,,the ,,drawing      ,designs for       

,japanese colour-prints were made by    
artists1 who1 as a rule1  were adherents
 of the ,popular 7,ukiyoye7 ,school and1
 socially1 of the  rank of artisans4    
,the drawing was done with a brush on   
very thin ,mino or  ,gampi paper1 the   
colours used being washes of            
water-colour worked with  rice-paste    
medium4 ,to correct the design1 the     
portions to be altered were  covered    
with pieces of paper1 on which the      
revised drawing was made4  ,the         
completed design 7generally1 to begin   
with1 in black lines only1 or with  only
 a little tint as a guide to the        
engraver7 was then fastened face        
downwards on the block with rice starch 
weakened with water4 ,as much as        
possible of its upper surface was rubbed
 away1 some oil being used to make  the 
remainder more translucent1 and thus to 
enable the engraver more  easily to     
follow the lines of the drawing4    ,it 
is evident that this process resulted in
 the destruction of the  designs4 ,the  

,museum1 however1 has acquired a number 
of unused drawings1  which fully        
illustrate this stage2 and the series of
 blocks exhibited 7,e4  #dacf-dcbb1     
#aiji7 have1 in several instances1      
remains of the paper still  adhering to 
the uncut portions of their surfaces4   
#a4 ,,illustration of a colour-print    
artist making a design2 showing his     
position when drawing and method of     
holding the brush4 ,a                   
colour-print in the ,japanese manner1 by
 ,emil ,orlik1 of ,prague4  ,e4         
#gif-aijc7a7     #b4 ,,original         
,,drawing 7not engraved7 for a          
colour-print1 showing the               
,artist's corrections4 ,by ,utagawa     
,kuniyoshi 7,a4,d4 #agig-ahfa74  ,j4,d4 
#ajjh4  ,subject--,the celebrated       
swordsmith ,sanjo ,kokagi ,munechika    
forging a blade in the grounds of the   
,inari ,temple1 assisted by a           
,fox-,spirit in the form of a woman4    
#c4 ,,original ,,drawing 7not engraved7 
for a #c-sheet colour-print1 showing    

the ,artist's corrections4 ,by          
,hiroshige ,i4 7,a4,d4 #agif-aheh74     
,j4,d4        #bddj ,subject--,street   
scene in ,akabane1 ,tokyo4     #d4      
,,brushes used by 7,japanese7 painters  
of the ,chinese ,school4  ,e4           
#dbjc-dbjf-aiaa4  ,founded by ,josetsu  
7#bnd half of the #adth century74       
,the style is still practised4     #e4  
,,brushes used by painters of the ,tosa 
,school4 ,e4 #dbjj-dbjb-aiaa4  ,the     
,school 7the ,national ,school of       
,japanese ,painting7 was first composed 
of a number of groups1 more or less     
related1 which coalesced under          
the name of ,tosa in the time of ,kasuga
 ,tsunetaka 7early #acth                
century71 who seems to have been the    
first to use this appellation4          
,the style is still practised4     #f4  
,,brushes used by painters of the       
,sesshiu ,school4 ,e4 #daij1 #daia-aiaa4
        ,founded by ,sesshiu            
7#adbj-aejf71 and based on the methods  
of the        ,chinese painters of the  

,sung ,dynasty 7#ifj-abhj74 ,the style  
is still        practised4     #g4      
,,brushes used by painters of the ,kano 
,school4 ,e4 #bg-bi-aiac4  ,founded     
by ,kano ,masanobu 7#adec-aeej74 ,the   
style is still practised4     #h4       
,,brushes used by painters of the       
,maruyama and ,shijo ,schools           
7,naturalistic74 ,e4 #daib-daii-aiaa4   
,founded by ,okyo ,maruyama             
7#agcc-agie72 and ,matsumura ,goshun    
7#ageb-ahaa74 ,the style is still       
practised4     #i4 ,,brushes common to  
painters of various ,schools4  ,e4      
#dbjg-dbab-aiaa4    #aj4 ,,brushes used 
by painters in lacquer4  ,e4            
#dbac-dbcb-aiaa4    #aa4 ,,brushes used 
for writing4  ,e4 #agj-ahg-aiaa4        
,,cutting ,,the ,,block      ,the       
engraving was invariably done by a      
second person and not by the  designer4 
,the wood used was that of the wild     
cherry 7,yamazakura71 the timber of     
which was not allowed to be exposed to  
sunshine1 but was carefully  seasoned in

 the shade4 ,fig4 #a illustrates the    
most economical way of  cutting up logs 
into blocks2 the harder portions of the 
wood--those nearer  the centre--being   
used for the key-blocks 7see p4 #aj71   
and the softer for  the colour-blocks4  
,when possible1 wood from the same tree 
was used for all  the blocks in each    
series4 ,the outlines of the drawing    
were incised with a  knife-edged graver1
 and the superfluous wood then hollowed 
out with  chisels or gouges of various  
form1 for all practical purposes1       
identical  with those used by ,european 
wood-carvers4 ,the result is an intaglio
 block1  the printing-surfaces alone    
remaining in relief4                    
,,diagram3--,method of cutting a log    
into blocks4                            
,,diagram3--,method of cutting a log    
into blocks4      ,the block first made 
from the drawing is called the key-block
 7,daiban7  and gives1 in relief1 the   
lines only1 of the design4 ,from it a   
number of  proofs are taken1 one for    

each colour-printing to be made4 ,on    
each of  these proofs the separate      
portion of the design covered by one    
colour is  painted2 and is then pasted  
on a block and cut in the manner        
described  above4 ,every part of the    
surface of the block1 however1 which is 
not  required for the one colour in use1
 is cut away4    ,to produce a colour   
print1 therefore1 a key-block is        
required and also a  separate block for 
each colour in the design4 ,for the sake
 of economy1  colour-blocks are         
sometimes cut on both sides2 and1 for   
small details1 two  portions of the     
design may be cut on one side1 but only 
one colour is  printed at each          
operation4    ,in the actual cutting of 
the block1 the old ,japanese engraver   
adhered to  an important principle--that
 of following the direction of the brush
  strokes of the original drawing1 in   
such a manner as to reproduce the       
actual quality of the brush-mark4 ,this 
is less apparent in the ordinary        

colour-prints2 but in reproductions1 by 
the same process1 of paintings and      
drawings1 the results obtained are      
extraordinarily faithful to the         
originals4    ,blocks were often framed1
 to prevent warping1 in the manner      
illustrated in  fig4 #b4 ,this device   
was more generally employed in the case 
of those  especially made for           
book-illustration4 ,a block that had    
warped could often  be straightened out 
again1 by being well soaked in water and
 then placed  under a weight4           
,,diagram3----,method of framing a block
 to prevent warping4                    
,,diagram3----,method of framing a block
 to prevent warping4        #ab4        
,,illustration of an engraver cutting a 
wood-block1 showing his        position 
and method of holding the knife or      
graver 7,kogatana7 with        which the
 outlines are first incised4  ,a        
colour-print1 in the        ,japanese   
manner1 by ,emil ,orlik1 of ,prague4    
,e4 #gig-aiab    #ac4 ,,illustration of 

the process of making colour-prints1    
showing various        stages of cutting
 the blocks1 sharpening the tools1      
damping the        paper2 and the tools 
and materials of the printer4 ,a        
#c-sheet        colour-print1 by        
,utagawa ,kunisada1 signed 8,toyokuni0  
7,a4,d4        #aghe-ahfd74 ,the process
 is fancifully represented as being     
carried        out by women4  ,j4 #cbjc4
   ,this print is imitated from one by  
,utamaro1 a portion of which is         
illustrated herein 7,frontispiece74     
#ad4 ,,chisels 7,nomi7 used in cutting  
the block4 ,the outlines are first      
cut with a graver 7,kogatana7 somewhat  
similar to that used by        ,european
 wood-engravers4  ,e4 #dccc-dcdc-aiji4  
#ae4 ,,stone 7,koshito7 for sharpening  
tools4 ,e4 #dcde-aiji4    #af4 ,,stone  
7,awasedo7 for polishing the surface of 
the ,koshito4  ,e4        #dcdf-aiji4   
#ag4 ,,mallet 7,saizuchi7 used with     
tools for cutting away the superfluous  
wood4  ,e4 #dcdd-aiji4    #ah4          

,,diagram1 showing the most economical  
way of cutting a log into        blocks 
for printing 7fig4 #a74    #ai4         
,,diagram1 showing method of framing a  
block to prevent warping 7fig4          
#b74                                    
,,printing      ,the ,printing of the   
old colour-prints was done by a third   
person1 neither  the engraver nor the   
designer4    ,the finished block must   
first be thoroughly washed and dried4   
,the colour  is then applied with a     
brush1 to the upper surface of the      
block1 which  rests on a low stand      
7,suridai7 to which are affixed four    
small cushions  of wet cotton 7,yawara7 
to prevent slipping 7fig4 #f74 ,this    
stand should  have a downward slope of  
about #b inches in #a foot4 ,the paper  
is wetted1  about #f hours before being 
used for printing1 and hung up to drain4
 ,for  the actual printing1 it is laid  
on the upper surface of the block1      
register 7,kento7 being secured by means
 of an angular cut at one corner        

7,plate ,,iii47 called the 8key0 7kaji72
 and a line cut at another1 called  the 
8draw-close line0 7hikitsuki74  ,no     
other means of adjustment is  used1 but 
the skill of the old printers was so    
great that faults of  register can very 
seldom be observed4 ,the impression is  
then rubbed off  with the ,baren1 used  
with a circular or zig-zag movement     
7fig4 #e72 and  this operation is       
repeated in succession with each block1 
beginning with  the key-block1 until the
 prints are complete4    ,it is the     
modern1 and was probably the old        
practice1 to take the required  number  
of proofs from each block in succession2
 and not to complete each  print        
separately4 ,the writer has observed    
that a modern ,japanese printer  takes  
an impression in from #ae to #be        
seconds1 without special effort4    ,the
 colours used were as follows3--        
,,carmine 7,beni74 ,made from the       
,safflower1 ,carthamus tinctorius1      
from which rouge is also prepared4 ,the 

kind called ,saiku-,beni is             
generally mixed with an acid derived    
from the ,plum-fruit        7,mukiume74 
,,blue 7,ao74 ,both ,airo7indigo7 and   
,hero 7,european blue7 are now          
used4 ,the old indigo was sometimes     
extracted from dyed rags4               
,,yellow 7,ki74 ,generally ,zumi1 a     
yellow dye1 and ,kiwo1 orpiment1        
are used1 and ,shiwo1 gamboge1 for the  
best prints4        ,,purple            
7,murasaki74 ,formerly this colour was  
made by mixing        ,aigami 7blue7 and
 ,beni 7red71 but now an imported purple
 is        used4        ,,green         
7,midori74 ,a mixture of either ,hero   
and ,kiwo1 or ,zumi        and ,airo4   
,,orange ,,yellow   7,to-o74 ,produced  
by mixing ,zumi and ,bengara            
7iron red7 or ,zumi and ,yenji 7rouge74 
,,black 7,sumi74 ,yeizen                
,zumi7lamp-black7 is used with the      
key-block4 ,it should be steeped in     
water for five or six months1           
then thoroughly well mixed in a wooden  

dish with a wooden mixer4               
,tsuya-,zumi is the brilliant black used
 for such details as human        hair1 
black lacquer objects1 c4 ,it is        
obtained by the use of a        ,dosa   
medium 7mixture of glue and alum72 and  
printed from a        separate block4   
,,silver ,,color 7,gin-ro74 ,lead powder
 mixed with glue4        ,,gold ,,color 
7,kin-iro74 ,brass powder mixed with    
glue4        ,,copper ,,color           
7,akegane-iro74 ,pure copper powder     
mixed with glue4        ,,white         
7,shiro74 ,powered white clay 7,jofun7  
mixed with glue4        ,clamshell      
powder 7,namaguriko7 is sometimes       
employed4        ,bengara 7,,iron       
,,red71 ,tan 7,,red ,,lead7 and ,,mica  
are also used4    ,,note4--,the above   
colours are those given in the ,bungei  
,riusan 7see p4  #bb74    ,great        
importance was attached to the grinding 
and mixing of the colours4  ,the        
glue-water medium used for mixing with  
black was made in the  proportion of    

about one-third of an ounce of glue to  
three-fourths of a  pint of water2 but  
these proportions varied with various   
qualities of the  pigment or paper4 ,in 
the case of other colours1 glue was not 
always used1  but rice-paste 7made with 
rice-flour and boiling water72 the      
actual being  sometimes done in the     
process of applying the colour to the   
block4 ,a  little alum was dissolved in 
the cold water with which the rice-paste
 was  mixed4 ,a specially brilliant     
effect was produced by laying a light   
wash of  rice-paste over the block      
before spreading the colours4           
,,relief ,,printing4--,for this purpose1
 a special block is made for that part  
in the print where the relief is        
required4 ,the print is laid back       
downwards on the block1 in the opposite 
manner to that used when printing       
colour1 and the impression is rubbed in 
with a tool of ivory--the canine  teeth 
of the wild boar being the material most
 favoured4                              

,,diagram3--,the ,baren4--,its internal 
construction                            
,,diagram3--,the ,baren4--,its internal 
construction                            
,,diagram3--,the ,baren4--,position of  
pad in sheath4                          
,,diagram3--,the ,baren4--,position of  
pad in sheath4                          
,,diagram3--,the ,baren4--,method of    
use4                                    
,,diagram3--,the ,baren4--,method of    
use4                                    
,,diagram3--,printer's ,desk4           
,,diagram3--,printer's ,desk4           
#bj4 ,,working ,,proof from the         
key-block1 with colour added by the     
artist2        and the following note in
 his writing1 8,please gradate the      
colour        like this40 ,the register 
marks are seen at the sides4  ,by       
,utagawa        ,toyokuni ,i4 ,a4,d4    
#agfi-ahbe4 ,subject--,theatrical scene4
 ,the actors        ,nakayama           
,tomisaburo and ,ichikawa ,komazo in the
 parts of the ,geisha        ,sankatsu  

and ,hanshichi4 ,plate ,,iii4 ,j4 #hdid4
    #ba4 ,,printing ,,colours4          
,specimens of colours as mixed by       
printers for use1        in glazed      
earthenware bowls1 with small brushes4  
,e4 #chib-chie-aiaj4    #bb4 ,,brushes  
made of horse-hair4 ,the smaller brushes
 are used for        applying the colour
 to the blocks4 ,e4 #dcbd-dccb-aiji4    
#bc4 ,,rubbers 7,baren7 with which the  
print is taken4  ,e4 #dcdg-dcdh-aiji4   
,these are made with bamboo sheath      
fibre1 twisted into cord and            
coiled edgeways round a card centre2    
then fixed into position with           
paper string of two or three strands and
 paste4  ,this is then        enclosed  
within a large soft bamboo sheath1 the  
ends of which are        twisted and    
turned upwards to make the handle4  ,the
 sheath must be        very fine and be 
softened with a little oil before use4  
#bd4 ,,diagram1 showing internal        
construction of the pad of the ,baren   
7fig4 #c74    #be4 ,,diagram1 showing   

position of the pad within the sheath of
 the        ,baren1 before the ends of  
the latter are turned over1 and twisted 
to make the handle 7fig4 #d74    #bf4   
,,diagram1 showing how the ,baren is    
held in the hand1 and the line        it
 follows when used 7fig4 #e74    #bg4   
,,diagram1 showing printer's desk1 with 
block in position1 resting on           
pads of damp cotton 7fig4 #f74    #bh4  
,,wood ,,blocks 7#g7 used in the        
production of a colour-print by ,utamaro
        ,,ii4 7worked c4 #ahjj-ahdj     
,a4,d471 with a set of progressive      
proofs        made by a modern ,japanese
 printer4  ,e4 #dcaf-dcbb-aiji4         
,the ,,key-,,block1 for printing the    
black outlines only4              ,first
 printing from ,,key-,,block4           
,second printing1 with ,,grey added to  
proof from key-block4 ,the              
block is also cut for the twelfth       
printing1 ,,green4              ,fifth  
printing1 ,,pale ,,blue4 ,the block is  
also cut for the              fourth    

printing1 ,,brown4              ,sixth  
printing1 ,,blue ,,pattern4 ,the block  
is also cut for a              printing 
not used4              ,seventh         
printing1 ,,blue4 ,eighth printing1     
,,yellow              ,ninth printing1  
,,grey4 ,tenth printing1 ,,brown 7second
 time              used74               
,eleventh printing1 ,,brown ,,pattern4  
,the block is also cut for              
the third printing1 ,,pale ,,pink4      
,thirteenth printing1 ,,crimson4        
,fourteenth printing1 ,,crimson         
,,pattern4  ,fifteenth printing1        
,,purple4              ,sixteenth       
printing1 ,,burnished ,,black1 giving   
the completed              print4       
,,note4--,the above are exhibited1 in a 
separate case1 in the ,museum4 ,in the  
,students' ,room is a set of proofs     
showing separate printings from each    
block4 ,the key-block of the above      
series is original2 the colour-blocks   
were made in the and half of the #aith  
century4    ,the ,museum also possesses 

the following original ,woodblocks4     
,,bairei1 ,kono 7d4 #ahie74             
,wood-blocks 7#d7 used for a leaf of    
8,the        ,hundred ,birds40 #ahha4   
,cut both sides4 7#iad74  #ehc-ahhf4    
,exhibited with an original drawing and 
a proof from one of the        blocks4  
,the ,museum contains the whole of the  
original drawings1        which were    
specially preserved1 and a copy of the  
publication4        ,,bunken 7#aith     
century74 ,key-block for a colour-print4
 ,eagle flying        over the sea4     
7#iaj #c_/h7  ,e4 #dicd-aijc ,the back  
is engraved to        print one of the  
colours1 c4 #ahhj4        ,,gakutei1    
,harunobu 7worked ,c4 #ahjj-ahcj74      
,key-block for a ,surimono4 ,a carp     
swimming upwards4 7#h #h                
#c_/h7  #bfb-aijc4                      
,key-block for a ,surimono4 ,geisha and 
peacock4 7#haj74                        
#didf-aijc4                             
,,harunobu7#agbd-aggj74 ,key-blocks for 
a set of five book-illustrations        

by ,harunobu1 c4 #aggj4 ,av4 size       
7#haj74 ,e1 #bafh-bagb-aiji4            
,presented by ,j4 ,s4 ,happer1 ,esq4    
,,hiroshige 7#agif-aheh74 ,key-block for
 an early set of lateral prints         
by ,hiroshige1 entitled 8,toto ,meisho  
,saka ,tsukushi-no ,uchi-,yedo40        
,series of steep roads in ,yedo4        
,sub-title on face of print3            
8,aoizaka-no ,dzu40 ,the reverse was    
used many years later for a set of      
views by ,hiroshige and ,toyokuni       
7,kunisada74 7#ajae 74  ,e4             
#baff-aiji4 ,presented by ,j4 ,s4       
,happer1 ,esq4        ,key-block for a  
half-plate set of 8,toto ,meisho0 7views
 of ,yedo7 by        ,hiroshige4 ,on the
 reverse is one of the colour-blocks for
 each half4        7#aeaj74 ,e4         
#bafg-aiji4 ,presented by ,j4 ,s4       
,happer1 ,esq4        ,,hokkei1 ,todoya 
,shunyosai 7c4 #aghj-ahej74 ,key-block  
for a        ,surimono4 ,a woman with   
writing materials4 7#h #c_/h #h74       
#bfa-aijc4        ,,kageshige7#aith     

century74 ,key-block for a ,surimono4   
,fan and        incense-burner1 each on 
a stand4 7#iaj74  ,e4 #dide-aijc4 ,the  
back is        engraved to print two of 
the colours4        ,,kikusai7#aith     
century74 ,block for book-illustration4 
,the three        long-lived            
men--,tobosaku 7#i1jjj years71 ,urashima
 ,taro 7#h1jjj        years71 and       
,miura-no-,osuke 7#ajf years74 7#gaj74  
,e4 #dida-aijc4 ,on        the back are 
several incomplete engravings4          
,,odake 7#aith century74 ,wood-blocks   
7#h7 for illustrations to               
8,mitford's ,tales of ,old ,japan0      
7#ahga7 with a set of proofs4 ,various  
sizes4 ,e4 #adja-ahhh4        ,,sadanobu
 7worked c4 #ahbj-ahdj74 ,key-block for 
a colour-print4        ,daikoku and     
,okame wrestling before the rest of the 
,seven ,gods of        ,good ,fortune4  
7#fi #c_/h74 ,e4 #didb-aijc4 ,the back  
is engraved to        print gold4       
,,seika 7#aith century74 ,key-block for 
a colour-print4 ,landscape with         

,mount ,fuji and ,storks4 7#f #c_/h #h74
 ,e4 #dicf-aijc4        ,,sunkichiro1   
,shunka 7#aith century74 ,key-blocks    
7#h7 for        book-illustration4      
8,zosho ,mono-gatari40 ,history of      
,soldiers4 ,by        ,hako ,shobei4    
,published by ,fusi ,kiken at ,kyoto1   
,osaka and ,yedo1        ,a4,d4 #ahdf1  
#crd month4 ,cut both sides4 7#hac74    
#cha1 #chb1 #chg1 #chh1                 
#cic-cif-ahie4        ,,sugisaki1 ,s4   
7,living ,artist47 ,engraved wood-block1
 showing a        decorative design of  
bamboo plants3 designed1 engraved and   
printed        by ,s4 ,sugisaki4 7#eaah 
#e_/h74 ,e4 #cgij-aiaj4 ,a print from   
the above4        ,e4 #cgij;a-#aiaj4    
,presented by the ,artist4              
,,suiko 7#aith century74                
,key-block 7part missing7 for a         
colour-print of a fan-design4           
8,shiki ,bijin ,sugatazoroye40 ,beauties
 representative of the                  
,four ,seasons4 ,spring4 ,a woman of the
 ,yoshiwara with her                    

attendant 7,kamuro74 ,one of a set of   
four4 7#ih74 ,e4                        
#didj-aijc4 ,the back is engraved to    
print gold and a colour4                
,key-block 7part missing7 for a         
colour-print of a fan-design4           
,shiki ,bijin ,sugatazoroye4 ,summer4 ,a
 geisha enjoying the                    
evening breeze4 7#hh74 ,e4 #dich-aijc   
,the back is engraved to                
print one of the colours4               
,,utamaro ,,ii4 7worked c4 #ahjj-ahdj74 
,wood-blocks 7#g7 used in the           
production of a colour-print4 7#aeaj74  
,e4 #dcaf-dcbb-aiji4        ,,unsigned  
7#aith century74                        
,key-block for a colour-print4 ,farmer  
turning an irrigation                   
water-wheel1 in rice fields4 7#hi74 ,e4 
#dice-aijc ,the back is                 
engraved to print one of the colours4   
,key-block 7on each side7 for two       
colour-prints4 ,chrysanthemums          
and butterfly2 on the back1 peonies in a
 flower-vase 7#iaj74              ,e4   

#dicc-aijc4    ,,note4--,proofs were    
taken 7in  #aiaj71 by a ,japanese       
printer1 from each of  the above1 except
 in cases where such were already in the
 ,collection4 ,they  can be seen on     
application in the ,students' ,room of  
the ,department4                        
,,paper      ,japanese paper1 of the    
kinds used for artistic purposes1 is    
made from the  inner bark of various    
plants1 chiefly the ,broussonetia       
,papyrifera1  ,edgeworthia ,papyrifera  
and ,wickstrmia ,canescens4 ,the young  
shoots of  the plant are cut in the     
withy stage2 the fibre freed from the   
wood1 and  the skin and green parts of  
the bark1 and edges of knot-holes and   
other  defective parts are cut out4 ,the
 selected residuum is then laid in      
running  water for several days1 and    
boiled in an iron kettle with lye1 till 
it is  quite soft and pulpy4 ,the pulp  
is next washed with fresh water until   
the  water runs off without             
discolouration4 ,the process of dealing 

with this  pulp does not greatly differ 
in principle from the ,european method2 
except  that the scoop-net is not of    
wire1 but of fine parallel bamboo       
splints or  silk net toughened with     
,shibu 7a preparation containing a large
 proportion  of tannic acid74 ,there is 
no watermark in ,japanese paper2 but    
patterns are  sometimes produced by     
arrangements of bamboo splints woven1 in
 net  fashion1 with silk or hemp thread 
7,mon-shi--patterned paper74 ,the       
,department of ,engraving1 ,illustration
 and ,design possesses a collection of  
specimens of various ,japanese papers4  
,the fine quality of the colours in old 
,japanese colour-prints is due1 to a    
considerable extent1 to the nature of   
the paper and especially to its  tough  
but highly absorbent character4         
,,books ,,of ,,reference      ,the      
following works contain descriptions of 
the various technical  processes        
mentioned above4          ,,rein1 ,j4   
,j4 ,the ,industries of ,japan4 7,paper1

 p4 #chi47 7#ajg47        ,london1      
#ahhi4        ,,washington3 ,u4,s4,a4   
,national ,museum4 ,report of the       
,smithsonian        ,institution for the
 year ending #cj ,june1 #ahib4 ,japanese
 ,wood-cutting        and ,wood cut     
,printing1 by ,t4 ,tokuno4 ,edited and  
annotated by ,s4 ,r4        ,koehler 7p4
 #bbb74 ,illustrated4 7#ii47            
,washington1 #ahic4        ,,wood-,,cut 
,printing in ,water-colours1 after the  
,japanese manner4        ,illustrated4  
7,in ,the ,studio1 vol4 #c1 pp4 no1     
#add4 #ahid47        ,,london3 ,victoria
 and ,albert ,museum ,handbooks4        
,japanese        ,colour-prints1 by     
,edward ,f4 ,strange4 7,technique1      
chapter xi47 #crd        edition4 7#hf47
 ,london1 #aiaj4        ,,sakakibara1   
,yoshino4 ,bungei ,riusan4 ,essays on   
,japanese literature1        with       
additional chapters describing the      
manufacture of paper and the            
processes of printing and engraving4    
7,the ,museum copy has ,,ms4            

translations of the portion relating to 
engraving47 ,cuts4 #h vols4             
7#ajg47 ,tokyo1#ahgh4    ,,note4--,the  
,department of ,engraving1 ,illustration
 and ,design includes a  large          
collection of ,japanese ,colour-prints  
and ,drawings1 which can be seen  on    
application in the ,students' ,room     
7,room #ga7 at any time 7except on      
,sundays7 when the ,museum is open to   
the public4                             
,,original ,,drawing ,,for ,,the        
,,series ,,of ,,prints ,,called 8,,the  
#ajj ,,poems ,,explained                
,,by ,,the ,,nurse0                     
,,hokusai4--,original drawing for the   
key-block of an unpublished colour-print
   in the series called 8,the ,hundred  
,poets explained by the ,nurse40 ,a     
junk1   with straw sail1 conveying three
 travellers2 at the bow a breaking wave4
      ,at the top right-hand corner is a
 poem by ,hoshoji no ,nyudo ,saki no    
,kwampaku ,daijo ,daijin4  ,o'er the    
wide sea plain1 _/ ,as ,i row and look  

around1 ,it appears to me _/ ,that the  
white waves1 far away1 _/ ,are the      
ever-shining sky4 ,from a drawing in the
 ,victoria and ,albert ,museum4 ,j4 ,d4 
#addg4            ,,working ,,proof ,,of
 ,a ,,colour-,,print ,,showing          
,,registration ,,marks4                 
,,toyokuni4 ,i4--,working proof from the
 key-block of a colour-print4 ,a        
theatrical scene2 with the actors       
,nakayama ,tomisaburo and ,ichikawa     
,komazo  in the parts of the ,geisha    
,sankatsu and ,hanshichi4  ,the artist  
has added a     wash of red colour to   
the print1 with the following ,,ms4 note
 to the     printer1 8,please gradate   
the colour like this40 ,from a print in 
the                     ,victoria and   
,albert ,museum4 ,j4 #hdid4