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40 HONDA THE SAMURAI.
do not specify, but they were probably such as the
empress was fond of and which she kept near her
person, such as mirrors, necklaces and jewels of car-
nelian, cups and dishes, etc.
" These being done and ranged in rows, the curiosity
of the courtiers was satisfied in examining them.
Then the potters built furnaces of stones and clay.
and then
They waited till they were somewhat dry,
kindled fire with a bow and drill. By rapidly twirl-
ing the drill in a groove made in a board of dry
wood filled with fine powder of hinoki, or fire-wood
tree, the fine dust gradually grew hot, and finally
began to smoke. By-and-by a spark appeared.
They then fired the wood in the kiln, filling
in the
chinks made by shrinkage with fresh clay. Then
the little models of men and horses were put in the
furnaces and baked hard. They came out a reddish
black or dark brown, according to the kind of clay
and the heat used. Great was the interest they
excited, especially among the maidens whose graves
they were to occupy. The terra-cotta figures being
all ready, they were carried to the imperial tomb and
disposed in pits round about, only the heads being
above ground. Solemn ceremonies and prayers to
the gods were offered at the same time.
" So well satisfied was the Mikado with the substi-
tutes, that he issued a decree declaring that hence-
forth clay images should be used in every case
instead of human beings. Upon Sukun6 he be-
stowed the title of Hashi, " the clay teacher " or
"molder;" and thus the first artist of Japan
received imperial honors and a patent of nobility.