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A great many of the guests had by this time departed. It was growing very quiet in the streets now, the jingle of harness and the impatient pawing of horses had almost ceased. A soldierly-looking man came up to Leona Lalage, and held out his hand.

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They soon found themselves among the huts of the fishermen, and the quantity of fish that lay around in various stages of preparation told that the business was not without prosperity. In a secluded part of the island they came upon a pretty summer-house, where a wealthy citizen of Tokio spent the hot months of the year. Through the gateway of the garden they had a glimpse of a group of three ladies that were evidently out for an airing. Frank thought he had never seen a prettier group in all his life, and while he looked at them he whispered his opinion to Fred.
ONE:

DANIEL PRATT

TWO:"You're so pretty," he whispered. "You're so very beautiful."

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ONE:"And a cheer from you, Frank," remarked the Doctor, "for somebody we saw at the railway station."
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ONE:
THREE:That could be managed. I think I may say I could guarantee that."Not only were the men hired on contracts that they could never cancel, but they were stolen, just as slaves are stolen in Africa. Boats were sent up the rivers in the southern part of China to bring back loads of coolies. They would land an armed party at a village, seize all the men in the place, and bring them to the port, where they would be transferred to the dealers, who would send them to the places where their labor was needed. Macao was the great port for the coolie trade, and the Portuguese had large sheds there, which they called barracoons, for holding the coolies in prison till they were ready to ship them away. These barracoons were sometimes so crowded that thousands of coolies died there in the course of a single year. The natives called them 'chu-tze-kuan,' or 'pig-pens,' and they were so filthy that they richly deserved the name.

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THREE:WATERING-PLACE ON THE ERIE RAILWAY. WATERING-PLACE ON THE ERIE RAILWAY.

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THREE:"Is that all you've noticed?" I smilingly inquired. "Isn't anybody else mortally in love with anybody else? You can't make me believe that's all you know!"CHAPTER VIII

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ONE: THREE:Their old acquaintance "the Mystery" had joined the party while the conversation just recorded was going on. When the Doctor made allusion to the emigration to Cuba and Peru, "the Mystery" opened his eyes a little wider than was his custom, and said he was well aware that many had gone to those countries who knew nothing but Chinese, and never learned a word of any other language. As the boys showed a desire to hear more on the subject, he proposed to tell them something about the coolie-trade; and it was arranged that they should assemble in the[Pg 393] smoking-saloon after dinner, where they could talk at their leisure.Before the arrival of foreigners in Japan it was not the fashion for a traveller to be in a hurry, and, even at the present time, it is not always easy to make a native understand the value of a day or an hour. A man setting out on a journey did not concern himself about the time he would consume on the road; if the weather was unfavorable, he was perfectly willing to rest for an indefinite period, and it mattered little if he occupied three weeks in making a journey that could be covered in one. In matters of business the Japanese have not yet learned the importance of time, and the foreign merchants complain greatly of the native dilatoriness. A Japanese will make a contract to deliver goods at a certain date; on the day appointed, or perhaps a week or two later, he will inform the other party to the agreement that he will not be ready for a month or two, and he is quite unable to comprehend the indignation of the disappointed merchant. He demurely says, "I can't have the goods ready," and does not realize that he has given any cause for anger. Time is of no consequence to him, and he cannot understand that anybody else should have any regard for it. The Japanese are every year becoming more and more familiarized with the foreign ways of business, and will doubtless learn, after a while, the advantages of punctuality.

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"In the first place, the bowl of plain porcelain is ground, so that the enamel will stick closely, which it would not do if the surface were glazed. Then the artist makes a design, on paper, of the pattern he intends putting on the bowl. When his design is finished, he lays it on a flat surface, and takes little pieces of brass wire which has been passed between rollers so that it becomes flattened; these he bends with pincers, so that they take the shape of the figure he wants to represent. Thus he goes over his whole design until every part of the outline, every leaf, flower, and stemin fact, every line of his drawingis represented by a piece of wire bent to the exact shape. The wire then forms a series of partitions; each fragment of it is a cell, or cloison, intended to retain the enamel in place and keep the colors from spreading or mingling. That is the first step in the work.A more aristocratic vehicle of this kind is the norimon. The norimon is larger than the cango, and is completely closed in at the sides, so that it may be taken as a faint imitation of our covered carriages. The princes of Japan used to travel in norimons; and they are still employed in some parts of the empire, though becoming less and less common every year. The norimon has four bearers, instead of two, and, consequently, there is much more dignity attached to its use. The rate of progress is about the same as with the cango, and after several hours in one of them a foreigner feels very much as if he were a sardine and had been packed away in a can. It was always considered a high honor to be the bearer of a princely personage; and when the great man came out in state, with his army of retainers to keep the road properly cleared, the procession was an imposing one. The style and decorations of the norimon were made to correspond with the rank of the owner, and his coat-of-arms was painted on the outside, just as one may see the coats-of-arms on private carriages in London or Paris. When a prince or other great man expected a distinguished visitor, he used to send his private norimon out a short distance on the road to meet him.
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<000005> "In the first place, the bowl of plain porcelain is ground, so that the enamel will stick closely, which it would not do if the surface were glazed. Then the artist makes a design, on paper, of the pattern he intends putting on the bowl. When his design is finished, he lays it on a flat surface, and takes little pieces of brass wire which has been passed between rollers so that it becomes flattened; these he bends with pincers, so that they take the shape of the figure he wants to represent. Thus he goes over his whole design until every part of the outline, every leaf, flower, and stemin fact, every line of his drawingis represented by a piece of wire bent to the exact shape. The wire then forms a series of partitions; each fragment of it is a cell, or cloison, intended to retain the enamel in place and keep the colors from spreading or mingling. That is the first step in the work.A more aristocratic vehicle of this kind is the norimon. The norimon is larger than the cango, and is completely closed in at the sides, so that it may be taken as a faint imitation of our covered carriages. The princes of Japan used to travel in norimons; and they are still employed in some parts of the empire, though becoming less and less common every year. The norimon has four bearers, instead of two, and, consequently, there is much more dignity attached to its use. The rate of progress is about the same as with the cango, and after several hours in one of them a foreigner feels very much as if he were a sardine and had been packed away in a can. It was always considered a high honor to be the bearer of a princely personage; and when the great man came out in state, with his army of retainers to keep the road properly cleared, the procession was an imposing one. The style and decorations of the norimon were made to correspond with the rank of the owner, and his coat-of-arms was painted on the outside, just as one may see the coats-of-arms on private carriages in London or Paris. When a prince or other great man expected a distinguished visitor, he used to send his private norimon out a short distance on the road to meet him.
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