From the International Exposition at Vienna, 1873

Judging from furniture specimens exhibited at the Vienna Exposition, it would seem that Japanese lacquered ware of the better grade is very superior to all others. It was distinguished from the other articles of its class by raised figures in gold upon a black surface. It is distinct from the Chinese makes in this and other respects, the latter never producing such good work.

While on the subject of Japan wares, it may be remarked that the lacquer of the Japanese is so much superior to our best methods of polishing, that it seemed a duty to take special pains to learn as much as possible about it. Through the kindness of Dr. G. Wagener, an attache
of the Japanese commission, the attempt was partially successful. The Japanese exhibition was quite well represented in this lacquered ware, and it attracted much attention. It is well known that their wooden ware finished with this lacquer is not injured by hot water. Their cups in which tea is steeped are of wood, covered with lacquer. We are using gumn copal to finish the best work on our pianos, which, when finished, are quite satisfactory in appearance, but are easily ruined by atmospheric and other influences. One firm in Boston has lost $8,000 a year by the failure of the very fragile surface given by this gum.

The following is the process as given by Dr. Wagener:

"NOTE UPON THAT KIND OF JAPANESE LACQUER CALLED' SHIUNKEI.'

" If the wood to be varnished be very porous, and the pores large enough to be visible to the naked eye, they are filled with a mixture of stone-powder and the lacquer called' seshime,' which is merely the sap of the branches of the varnish-tree, without any mixture. This paste
of stone-powder and lacquer is put on with a wooden spatula, the workman taking good care to press hard on the spatula, so as to fill up all the pores, and to rub the varnish off the surface of the wood, which is to be kept as clean as possible. After the varnish is well hardened, the whole surface is polished with a soft stone-a kind of wedge-stone-so that the veins of the wood come out again. This filling process can be repeated, if necessary. Next, in order to give it a color, the wood is painted over with a thin water-color, or it is stained. When thus prepared, the object is then varnished with the lacquer shiunkei, of which a thin coating is put on with a brush; otherwise it would look too dark. On account of this lacquer taking its gloss in hardening, it requires a skillful person with a light hand to obtain a good result. Only one coating is given.

" In case the wood is close-grained and of even surface, the preliminary work will be unnecessary. The sheshine lacquer is alone used. It is rubbed into the wood with a ball of cotton, which is saturated with it. After it has been rubbed in, that which remains on the surface is taken off by rubbing with Japanese soft paper, so that in fact only a very thin layer remains.

" It sometimes happens that a Japanese lacquer is too thick, and will not spread evenly withl a spatula, as occasionally happens when it is mixed with stone-powder. When this occurs, the Japanese workmen add to the varnish they are about to use powdered camphor. By this means it becomes more liquified and flows much better.

" There is another thing about the Japanese method of using this varnish that is worth knowing. The atmosphere in which itis to harden, after it has been applied, should be moist, and the room darkened. The Japanese lacquerers have in their work-rooms large boxes fixed against the walls. These are furnished with sliding-doors. The inside of these boxes are wetted with towels dipped in water; the lacquered ware is introduced, and the doors are closed. It generally requires forty-eight hours to harden the lacquer."