Japanese men, like the Ainos, cut off the hair on the front of the head (p1. 62, p1. 1, 6, 8; p1. r). They begin the practice in childhood, and gradually extend the bare surface (p1. 62, 1). The women let the hair grow and gather it up into a knot on the crown, where it is secured with combs, bands, or long needles (pl. 62, 2, 3, 5 ; p1. 63, figs. 3, 4 ; p1. 65, 0. When they marry they paint themselves like the Aino women (p. 260), and color the teeth and lips black. Among the Ainos tattooing begins at the seventh year.
The head-ornament of the mikado (p1. 62, fig. 8) and of the courtiers (pl. 62, fig. 6) is characteristic, and strictly in accordance with the rank of the individual. The rider (pl. 64, fig. 9) wears a light cap, and his servants cowl-like caps which are extensively used by Mongolians. He has the wide trousers caught up at the knee, into which the broad over garment is thrust according to the custom of riders and travellers, but he holds the reins himself, and sits with his legs spread apart; though in old times riders sat on their horses as ladies do with us and the horse was led by servants. The servants wear comfortable camisoles and broad, high bound trousers and gaiters, as the fanner on Plate 63 (fig. 8); but gener ally, for comfort's sake, the working classes wear no covering for the legs. The curious dress of the farmer (pi. 63, fig. 7) consists of thickly-woven straw, of which the stems project like fur. The Japanese bathe fre quently and keep their clothes and bodies very clean. The same sense of neatness is apparent in their houses.
Diecllings of the are generally of one story, and not high, made of wood, even to the shingles of the roof, and sometimes plas tered with clay on the outside; they are provided also with galleries, over hanging roofs, under which are open verandahs, or with broad projections of fine lattice-work, which give the house a comfortable appearance. The houses of the citizens (pl. 64, fig. 1) are simpler than those of the nobles (pl. 64, fig. 7), because greater luxury in clothing and in manner of life is by law very strictly forbidden to the former. Each family has a house to itself. The partitions inside are of twisted work or thick paper pulp; the windows are either quite open or are supplied with very fine weavings (pi.
63,fig. 5) or oiled paper.
The walls of the rooms are hung with tapestry beautifully painted (p1. 65, fig. I); the floor is laid with fine matting, which takes the place of most of our household articles, for the Japanese use no chairs, etc., but every one, noble (p1. 62, figs. 8, 9) and common (pl. 65, fig. I), sits on these mattings. The largest palaces are built of wood, as well as the small (p1. 63, fig. 5) and large temples (p1. 65, fig. 2), whose interiors and exteriors are well shown in our plates. Bridges, gates, and in short all things, are of wood. There is in every house, under the roof; a water-tank for use in case of fire. Poor people live here, as among the Ainos, in holes dug in the earth and covered with a roof. Towns and cities, even the largest, are almost always built quite regularly.
Food and is the staple food of the Japanese, and tea the principal drink; it is always served at family meals (pl. fig. 1); the illustration also shows the various table appointments. They eat fish, lobsters, mussels, different vegetables and fruits—meat less often, and then generally fowl. A favorite delicacy is the sugar sea-weed, which formerly was a staple article of diet for the whole people (as it still is among the Ainos), but is now used for presents, etc.
All Japanese smoke tobacco, even the women; every man, even the poorest, has his tobacco-pouch hanging at the belt (p1. 63, fig. S). They are very fond also of spirituous drinks (saki, a kind of arrack). A garden is attached to every house, though to our taste their gardens are too full of ornamental plants; and agriculture, like horticulture, is admirably carried on. Their skill at sea is remarkable.
Art and the Japanese accomplish in the arts is too well known to require comment. They never rise above the level of a well-developed industrial art, and their painting, the most important of this kind, is in the bonds of a conventional mannerism, which is indeed characteristic, and in the representation of natural objects often excellent (p1. 65, fig. r, in the background), but sometimes mere caricature ( pl. 64, fi. 9). Their literature is not superior, although much is read and written.