From it the large room
is entered by a doorway, over which a heavy reed-mat, bound with
hide, invariably hangs.
This room in Benri's case is 35 feet long
by 25 feet broad, another is 45 feet square, the smallest measures
20 feet by 15. On entering, one is much impressed by the great
height and steepness of the roof, altogether out of proportion to
the height of the walls.
The frame of the house is of posts, 4 feet 10 inches high, placed 4
feet apart, and sloping slightly inwards. The height of the walls
is apparently regulated by that of the reeds, of which only one
length is used, and which never exceed 4 feet 10 inches. The posts
are scooped at the top, and heavy poles, resting on the scoops, are
laid along them to form the top of the wall. The posts are again
connected twice by slighter poles tied on horizontally. The wall
is double; the outer part being formed of reeds tied very neatly to
the framework in small, regular bundles, the inner layer or wall
being made of reeds attached singly. From the top of the pole,
which is secured to the top of the posts, the framework of the roof
rises to a height of twenty-two feet, made, like the rest, of poles
tied to a heavy and roughly-hewn ridge-beam. At one end under the
ridge-beam there is a large triangular aperture for the exit of
smoke. Two very stout, roughly-hewn beams cross the width of the
house, resting on the posts of the wall, and on props let into the
floor, and a number of poles are laid at the same height, by means
of which a secondary roof formed of mats can be at once
extemporised, but this is only used for guests. These poles answer
the same purpose as shelves. Very great care is bestowed upon the
outside of the roof, which is a marvel of neatness and prettiness,
and has the appearance of a series of frills being thatched in
ridges. The ridge-pole is very thickly covered, and the thatch
both there and at the corners is elaborately laced with a pattern
in strong peeled twigs. The poles, which, for much of the room,
run from wall to wall, compel one to stoop, to avoid fracturing
one's skull, and bringing down spears, bows and arrows, arrow-
traps, and other primitive property. The roof and rafters are
black and shiny from wood smoke. Immediately under them, at one
end and one side, are small, square windows, which are closed at
night by wooden shutters, which during the day-time hang by ropes.
Nothing is a greater insult to an Aino than to look in at his
window.
On the left of the doorway is invariably a fixed wooden platform,
eighteen inches high, and covered with a single mat, which is the
sleeping-place. The pillows are small stiff bolsters, covered with
ornamental matting. If the family be large there are several of
these sleeping platforms. A pole runs horizontally at a fitting
distance above the outside edge of each, over which mats are thrown
to conceal the sleepers from the rest of the room. The inside half
of these mats is plain, but the outside, which is seen from the
room, has a diamond pattern woven into it in dull reds and browns.
The whole floor is covered with a very coarse reed-mat, with
interstices half an inch wide. The fireplace, which is six feet
long, is oblong. Above it, on a very black and elaborate
framework, hangs a very black and shiny mat, whose superfluous soot
forms the basis of the stain used in tattooing, and whose apparent
purpose is to prevent the smoke ascending, and to diffuse it
equally throughout the room. From this framework depends the great
cooking-pot, which plays a most important part in Aino economy.
Household gods form an essential part of the furnishing of every
house. In this one, at the left of the entrance, there are ten
white wands, with shavings depending from the upper end, stuck in
the wall; another projects from the window which faces the sunrise,
and the great god - a white post, two feet high, with spirals of
shavings depending from the top - is always planted in the floor,
near the wall, on the left side, opposite the fire, between the
platform bed of the householder and the low, broad shelf placed
invariably on the same side, and which is a singular feature of all
Aino houses, coast and mountain, down to the poorest, containing,
as it does, Japanese curios, many of them very valuable objects of
antique art, though much destroyed by damp and dust. They are true
curiosities in the dwellings of these northern aborigines, and look
almost solemn ranged against the wall. In this house there are
twenty-four lacquered urns, or tea-chests, or seats, each standing
two feet high on four small legs, shod with engraved or filigree
brass. Behind these are eight lacquered tubs, and a number of
bowls and lacquer trays, and above are spears with inlaid handles,
and fine Kaga and Awata bowls. The lacquer is good, and several of
the urns have daimiyo's crests in gold upon them. One urn and a
large covered bowl are beautifully inlaid with Venus' ear. The
great urns are to be seen in every house, and in addition there are
suits of inlaid armour, and swords with inlaid hilts, engraved
blades, and repousse scabbards, for which a collector would give
almost anything. No offers, however liberal, can tempt them to
sell any of these antique possessions. "They were presents," they
say in their low, musical voices; "they were presents from those
who were kind to our fathers; no, we cannot sell them; they were
presents." And so gold lacquer, and pearl inlaying, and gold
niello-work, and daimiyo's crests in gold, continue to gleam in the
smoky darkness of their huts.
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