Wichita daily eagle. [volume] (Wichita, Kan.) 1884-1886, 1886-03-04
A JAPANESE HOUSE.
UNSUBSTANTiAL IN APPEARANCE,
AND MEAGER IN COLOR.
The Capital Distinction Between Jap
anese Domestic Architecture and
Our Own-An Account of
Kitcheu-Arbors, Fences.

A service TO these who wish to compre-
bend the life Of contemporary Japan has at
last been rendered by Mr. Edward S. Morse,
| in an elaborate and exhaustive monograph
| called japanese Homes and Their Sur
roundings," What the authors opportuni-
| ties have been will be sufficiently evident
when VIC recall the fact that for some years
he was a resident professor in the University
of Toxic.
Mr. Morse invites US to enter one of the
towns whose collective aspect has been pre-
viously outlined, and examine one of the
typical japanese dwellings It is not to be
denied, he owns, that 1.-The first sight of
japanese house is Disappointing. 1t is unsub-
stantial in appearance, and there is mea-
gerness of color. Being unpainted, it sug-
gests poverty, and this absence Of paint,
with the gray and often rain-staired color
OF tie boards, leads one to compare it with
similar Imprinted buildings at home, which
are usually barns and sheds"
IRREGULARITIES OF DWELLING
An American finds it difficult indeed to
consider such a structure as dwelling,
when so many features are absent that got
make up dwelling in the United States-no
doors or windows such as he had been
familiar with; no attic or cellar: no Chin
NY . HitLiH luc HO
and, of course, no customary mantel; no
permanently enclosed rooms; and, as for
furniture, no beds or tables, chairs, or
equivalent articles-at least SO it appears at
first sight
The author proceeds to dwell On what is
manifestly the capital distinction between
japanese domestic architecture and our own,
namely, the treatment OF outside walls and
of partitions In our houses these
are solid and permanent, and when
the frame is built the partitions form
part of the framework. In the japanese
house, on the contrary, there are two
or more sides that have no permanent walls.
Within, also, there are but few fixed par
titions; in their stead are slight, sliding
screens which run in appropriate grooves in
the floor ard overhead These grooves
mark the limit of each ROOM The screens
may be opened by sliding them back, or
they may lie entirely removed. thus throw
ing number Of rooms into one great apart
ment In the same way the whole side of a
house may be flung open to sunlight and air
For communication between the rooms
swinging doors are not necessary. As i sub
stitute for windows the outside screens are
covered with white paper, allowing the light
70 be diifusei through the house.
Az ACCOUNT OF KITCHEN
The description of a city hoase is com
pleted by an account Of the kitchen, which
lis at one side or corner of the house; gen
orally in an l. covered with a pent roof
This apartment is often toward the street,
its yard separated from other areas by
high fence In the city few outbuildings,
such as sheds and barns, are seen Accom-
panying, however, the houses Of the better
class are solid thick-walled, one or two
stored freproof buildings called kura, in
which the goods and chatte!s are slowed
away at the time of confiagration. These
buildings, which are known to the foreigner
as 'godowns,' have one or two small win
dows and one door, closed by thick and
ponderous shutters. Such building usually
stands isolated from the dwelling, though
often in Juxtaposition; and sometimes,
though rarely, it is used as domicile
In the gardens attached to the dwellings
of the better classes summer houses and
shelters of rustic appearance and diminutive
proportions are often seen. Rustic arbors
are also 10 be seen in the larger gardens.
Specially constructed houses of quaint de-
sign and small size are not uncommon; in
these the ceremonial tea parties take place
High fences, either beard or bamboo, or
solid walls of mud or tile, with stone founda-
tons surround the house or enclose from
the street Gateways of various styles, some
of imposing design, form the entrances; as
a general thing they are either rustic and
light or formal and massive Whatever,
finally, is commonplace in the appearance of
the house is toward the street, while the
artistic and picturesque face is turned to-
ward the garden, which may be at one side
or in the rear of the house-usually in the
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