As the room, when closed, receives its light through the shōji, the windows proper—that is, certain openings in permanent partitions which may be regarded as windows—have in most cases lost their functional character, and have become modified into ornamental features merely, many of them being strictly decorative, having none of the functions of a window whatever. These openings assume an infinite variety of forms, and appear in the most surprising places in the room. They may be placed low down near the floor, or close to the ceiling; indeed, they occur between the rooms when permanent partitions are present, and similar openings may be seen in the partition which separates the tokonoma from the chigai-dana. A window often occurs in a partition that continues some little distance beyond the outer edge of the tokonoma. This window is usually square, and is closed by a shōji. The upper cross-piece of the shōji frame projects at each end, so that it may be hung in place on iron hooks (fig. 151). If the window comes near the tokonoma the [pg 175] shōji is hung on the outside of the room, as its appearance in this way is better from within. If it occurs in a partition near the chōdzu-bachi, the shōji is hung inside the room. Sometimes the shōji rests on grooved cleats or bars, which are fastened above and below the window, and oftentimes it runs inside the partition,—that is, in a partition that is double. The shōji in this case is often made in two portions, and parts to the right or left. The frame-work of the shōji forming the windows is often a marvel of exquisite taste. The designs are often geometric figures, as in fig. 152; though other designs are seen, as in fig. 153, representing a mountain. These designs, being made of very thin strips of white pine, it would seem that in such examples portions of the frame-work must have been fastened to the paper to keep them in place, for there are no means of sustaining such a frame in position without some such method.

At Nagoya, in an old house, I saw a remarkable partition of dark cedar, in which a circular window, five feet in diameter, was occupied by a panel of thin cedar, in which was a perforated design of waves; the drawing was of the most graceful description. The curious, formal, curled tongues of water, like young sprouting ferns, the long graceful sweep of the waves, and the circular drops suspended above the breaking crests presented a charming effect, as the light coming through from the outside illuminated these various openings.

When these windows occur in the second story they are arranged to overlook some pleasant garden or distant landscape; for this purpose the window is usually circular, though it may be in the shape of the crescent moon, or fan-shaped; indeed, there seems to be no end to designs for these apertures. Openings of this nature between rooms may or may not have shōji, but they always have a lattice-work of bamboo, or some other material, arranged in certain ornamental ways. The outside windows not only have the shōji, but may have an ornamental lattice-work as well. In fig. 121 the large circular window next the tokonoma had a lattice-work of bamboo arranged in an exceedingly graceful design.

Great attention is devoted to the window which comes in the recess used for writing purposes. The frame of this window may be lacquered, and the lattice-work and shōji are often marvels of the cabinet-maker's art. Windows of curious construction are often placed in some passage-way or space [pg 177] at the end of the verandah leading to the lavatory, when one exists. The accompanying figure (fig. 154) shows a window of this nature, seen from the outside; the bars were of iron, and below the opening the wood-finish consisted of alternate panels of cedar-bark and light wood.

There are hundreds of forms of these windows, or mado, as they are called. The few to which allusion has been made serve to give one some idea of the almost entirely ornamental character of these openings. It is worthy of note that each form has its appropriate name, and books are specially prepared, giving many designs of windows and their modes of construction.

In the chapter on Gardens a few descriptions and sketches are given of other forms of windows belonging to summer-houses.

The open character of the Japanese house has caused the development of a variety of forms of portable screens, bamboo shades, curtains, and the like, upon which much ingenuity of construction and an infinite amount of artistic talent have been expended. The biyō-bu, or folding screens, are too well known to require more than a passing allusion. These consist of a number of panels or folds covered on both sides with stout paper. A narrow border of wood forms an outer frame, and this may be plain or lacquered. The end folds have the corners as well as other portions of its frame decorated with wrought metal pieces. Just within the frame runs a border of brocade of varying width, and on its inner edge a narrow strip of brocade; within this comes the panel or portion to receive the artist's efforts. Each fold or panel may have a separate picture upon it; or, as is most usually the case, a continuous landscape or composition covers the entire side of the screen. Many of the great artists of Japan have embodied some of their best works on screens of this kind, and the prices at which some of these are held are fabulous.

The rich and heavily-gilded screens now so rare to obtain are marvels of decorative painting. While the front of the screen may have a broad landscape, the back may be simply a plain gold surface, or have some sketchy touches of bamboo, pine, etc., in black. I have been told that the gold-leaf was so thick on many of the old screens, that the sacrilege has often been committed of destroying them for the gold contained on their surfaces.

The six-panelled gold-screen is, beyond all question, the richest object of household use for decorative purposes ever devised. There certainly is no other device in which so many decorative arts are called into play. The rich lacquered frame, [pg 179] the wrought metallic mountings, the border of gold brocade, and the great expanse for the artist's brush (for when both sides of a six-fold screen is decorated, an area is obtained nearly five feet in height and twenty-four feet in length) give great variety for richness of adornment. The rich, dead gold-leaf with which it is gilded softens the reflections, and gives a warm, radiant tone to the light. Its adjustable nature permits it to display its painting in every light. We refer now, of course, to the genuine old gold-screens which came in sets of two. One possessing a set of these screens may consider himself particularly fortunate. The one figured (fig. 155) has depicted upon it a winter scene painted by Kano Tsunenobu, and is nearly one hundred and seventy years old; the companion of this has represented upon it a summer scene, by the same artist. On the reverse sides are painted with bright and vigorous touches the bamboo and pine. Fig. 156 shows one corner of the screen-frame with its metal mounting. These screens may have two folds, or three, or even six, as in this case. A set of screens when not in use are enclosed in silk bags, and then placed in a long, narrow wooden box (fig. 157). This box, like other articles of household use, such as bureaus and chests of drawers, has long hanging iron handles, which when turned upwards project above the level of the top, forming convenient loops through which a stick may be passed,—and thus in case of fire may be easily transported upon the shoulders of men.

When the screen is unfolded and placed on the floor, various devices are provided to prevent the end panels being [pg 180] swayed by the wind. These devices may be in the shape of some metal figure which acts as a check, or a heavy weight of pottery made in the shape shown in fig. 158, the end of screen fitting into the slot in the weight.

On certain festival days, it is customary for the people bordering the wider thoroughfares to throw open their houses and display their screens; and in Kioto, at such times, one may walk along the streets and behold a wonderful exhibition of these beautiful objects.

A screen peculiar to Kioto, and probably farther south, is seen, in which panels of rush and bamboo split in delicate bars are inserted in each leaf of the screen. Such a screen when spread admits a certain amount of light as well as air, and may be used in summer.

A low screen of two folds, called a furosaki biyō-bu is placed [pg 181] in front of the furo, or fire-vessel, used for boiling water for tea. The purpose of this is to screen the furo from the wind and prevent the ashes from being blown about the room. Sometimes these screens are made in a rigid form of wood, with the wings at right angles, the panels being of rush; and in the corner of the screen a little shelf is fixed, upon which the tea-utensils may be placed. Such an one is here figured (fig. 159); there are many designs for this kind of screen.

In the old-fashioned genka, or hall-way, there stands a solid screen of wood with heavy frame, supported by two transverse feet. This screen is called a tsui-tate, and is an article of furniture belonging to the hall. It is often richly decorated with gold lacquer, and is usually much lower in height than the ordinary screen. In old Japanese picture-books this form is often represented. Diminutive models of the tsui-tate (fig. 160) are made in pottery or porcelain, and these are for the purpose of standing in front of the ink-stone to prevent the mats from being spattered when the ink is rubbed. In another form of tsui-tate a stand is made having uprights placed in such a way that a screen covered with stout paper or a panel may be placed upon the stand and held in a vertical position by these uprights, as shown in fig. 161.

When the shōji are removed, and the room thrown wide open to the light and air, curtains composed of strips of bamboo or rush are used as sun-screens; these are generally hung up just below the edge of the supplementary roof or hisashi or may be suspended just outside the room. They can be rolled up and tied, or dropped to any desired length. These curtains may be either plain or have traced upon them delicate designs of vines or gourds, or conventional patterns. These designs are produced either by the joints on the bamboo being adjusted to carry out a zigzag or other design, as shown in fig. 162 (A.), or else the thin strips of bamboo may have square notches cut out from their lower edges as in fig. 162 (B). In this case the shade of the room within gives the necessary back-ground to bring out the design as shown in fig. 163. These devices are called noren; if made of bamboo, they are called sudare.

In illustrated books there is often seen figured a screen such as is shown in fig. 164. This consists of a lacquered stand, from which spring two upright rods, which in turn [pg 183] support a transverse bar not unlike some forms of towel-racks; dependent from this is a curtain of cloth, which is long enough to sweep the floor. I have never seen this object, though it is probably in use in the houses of the Daimios.

A screen or curtain is often seen in doorways and passageways, consisting of a fringe of cords, upon which have been strung like beads short sections of bamboo, with black seeds at intervals. A portion of one of these fringed curtains is illustrated in fig. 165. Such a curtain has the advantage not only of being a good screen, but the inmates may pass through it, so to speak, without the necessity of lifting it. There are many forms of this curtain to be seen, and at present the Japanese are exporting a variety of delicate ones made of glass beads and sections of rushes.

Cloth curtains are used at the entrance to the kitchen, and also to screen closet-like recesses. The cloth is cut at intervals, leaving [pg 184] a series of long flaps. This curtain is not readily swayed the wind, and can easily be passed through as one enters room (fig. 166). In front of the Japanese shop one may see a similar form of curtain slit at intervals, so that it may not be affected by ordinary winds.

There are doubtless many other forms of screens and curtains not here enumerated, but most of those described present the common forms usually observed.