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THREE:MODE OF HOLDING THE TOW-ROPES. MODE OF HOLDING THE TOW-ROPES.Frank and Fred were greatly interested to find the love which the Japanese have for dwarfed plants and for plants in fantastic shapes. The native florists are wonderfully skilful in this kind of work, and some of their accomplishments would seem impossible to American gardeners. For example, they will make representations of mountains, houses, men, women, cats, dogs, boats, carts, ships under full sail, and a hundred other things��all in plants growing in pots or in the ground. To do this they take a frame of wire or bamboo in the shape of the article they wish to represent, and then compel the plant to grow around it. Day by day the plant is trained, bent a little here and a little there, and in course of time it assumes the desired form and is ready for the market. If an animal is represented, it is made more life-like by the addition of a pair of porcelain eyes; but there is rarely any other part of his figure that is formed of anything else than the living green. Our boys had a merry time among the treasures of the gardener in picking out the animate and inanimate forms that were represented, and both regretted that they could not send home some of the curious things that they found. Frank discovered a model of a house that he knew would please his sister; and he was quite sure that Miss Effie would dance with delight if she could feast her eyes on a figure of a dog, with the short nose for which the dogs of Japan are famous, and with sharp little eyes of porcelain.

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introduction

THREE:I was met in the bare unpainted hall by a dropsical man of nearly sixty, holding a dim candle, a wax-myrtle dip wrapped on a corncob. He had a retreating chin, a throat-latch beard and a roving eye; stepped with one foot and slid with the other, spoke in a dejected voice, and had very poor use of his right hand. I followed him to the rear corner chamber, the one nearest the stable, feeling that, poor as the choice was, I should rather have him for my robber and murderer than those villains down at the quarters. I detained him in conversation while I drew off my boots and threw my jacket upon the back of a chair in such a way as to let my despatch be seen. The toss was a lucky one; the document, sealed with red wax, stuck out arrogantly from an inside pocket. Then, asking lively questions the while as if to conceal a blunder and its correction, I moved quickly between him and it and slipped the missive under a pillow of the fourpost bedstead.

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THREE:Sometimes, alas! you ship a sea,"It is a quotation," explained the Clockwork man solemnly, "from a work I was reading when I��when the thing happened to me. It is published by Gamages, and the price is nine and nine pence��nine and nine pence��Oh, bother��"

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FORE:"I doubt if we shall see him before midnight," said the latter. "Even supposing he catches his man before dusk, which is unlikely, it will take him another hour or so to drive to the Asylum.""I know," he said, "that comes hard; you'll have to tear yourself away--"

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FORE:"Not at all," said the Doctor, endeavouring without much success to treat his guest as an ordinary being, "I am to blame. I ought to have realised that you would require nourishment. But, of course, I am still in the dark��"

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FORE:I said with genuine warmth that if he would give me that man's name--etc.

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THREE:"Yes," I said, and handed her, as I dismounted, the General's gift, the pass."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 stem��in fact, every line of his drawing��is 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.

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