19B: October 10th, 1917 Nagasaki: O Suwa Matsuri (continued)

The Big Torii of Suwa Shrine, Nagasaki

Well

Osuwa Koen (park)

Having left strict instructions for an early call, the Pilgrim was persuaded to rise somewhere about 4 a.m., the simple expedient adopted being the attachment of a small rope by means of which all the bed clothes were whisked off him. The morn being sharp, a lack of covering prompted an immediate rising, so behold him setting out at cockcrow for the Shrine of O Suwa.

Although it was quite dark, many other early birds were about, some bound in the same direction, while others were busied putting the final, finishing touches to the decorations and hanging out the national flag. No ricksha being available, a good, sharp walk assisted in dispelling the chill of early morn and the desire for more sleep.

A pearly light, peeping over the mountains to the eastward, betokened the advent of dawn, the changing lights mingling with the faint haze rising from the town producing a pretty, artistic effect. A ricksha was obtained in due course, enabling the remander of the journey to be completed in comfort.

Early as it was, the grand stand was well occupied, a fact which made the Pilgrim congratulate himself upon his early start. People were arriving in droves and it was evident that ere long progress would be difficult, if not impossible.

Deposited safely at the foot of the great bronze torii, - the gift of the Mitsui family to the temple - the usual “blarney” with kurumaya san began. But how different the discussion, re the amount of the fare, to that prevalent at Hankow, or in the primeval forests of Hongkew. Instead of grabbing his fare by the arm and raising a howl to the Heavens, this polite Claude Duval merely doffs his hat and bows, in response to the enquiry “How much?” He speaks English it appears; Bar room British, to be more correct and replies, canny bird, knowing that his fare is in a hurry to be gone; “I leave that to you.”

The “grand stand” appears to be a somewhat flimsy structure consisting of bamboo poles and straw rope, the seating accommodation provided being planks, covered with a coarse straw matting, upon which small cushions are placed. Bearing in mind the discomforts attendant upon an attempt at sitting, a la Japonaise, upon a small futon some two feet square by two inches thick, the Pilgrim procured a pile of these futons (hire six sen each) and so, arranging a seat more in accordance with Occidental ideas of comfort, sat down to take stock of his surroundings.

Kasaboko

Imakago-machi

Kanjia-machi

All Nagasaki and his wife, his sisters cousins and aunts, arrayed in brilliant holiday garb, seem to be crowding in. What a blaze of colour; what elaborate coiffures, ditto complexions, permanent and due to the application of O-shiroi, poudre de riz and other adjuncts to miladi's toilette table! Also, what a chance for the cinematographer, but beyond an odd stand camera or two the photograpic art is unrepresented.

But now a beating of drums and the music of fifes announces the approach of the first kasaboko. This, by right of precedence is that of the delegation from Maruyama-machi. Round the umbrella-like structure a draping of richly ornamented brocade hangs, encircled at the top by a large circular border of black velvet. On the “roof” appears a handsome cabinet-table, covering a basket of flowers while on the table itself is a circular mirror, nearly three feet in diameter on which the characters Maru Yama Machi are engraved.

Maruyama-machi Kasaboko

Moto-sh'ta-machi

Higashi-naka-machi

Vocifierous and sustained applause greets the advent of this kasaboko, a fact which testifies to the piety and popularity of the machi represented. After the “whirling and salting” previously described is concluded, a dance performed by eight pretty woodcutters follows, to the music of shamisens, drums, pipes etc., provided by the attendant geisha. The costumes defy description at the hand or pen of a mere man, - suffice it to state that in this Odori as throughout the whole proceedings, the national art of blending a riot of gorgeous and bizarre colours into an artistic colour harmony, was attended with the usual successful result.

Bungo-machi

Banzai-machi

Aburaya Machi provided the second “turn” the kasaboko following out the conventional order of construction the ornamental apex being a huge golden star, while the black velvet circular border at the top of the “hammer cloth” was replaced by a length of three-stranded hawser, made of straw and of 25 inches in circumference.

Hoka Oura-machi

Eight geisha contributed several pretty dances in the entertainment which followed. Ladies of some determination these, apparently, as ignoring the demand, “take away that mat” they sat or danced upon a spread of matting, much to their comfort and the protection of their rich and costly kimonos.

It is now 6 30 and the sun is just peeping over the crest of the mountain, casting his beams directly in the faces of the spectators on the western side of the grand stand. Up go a few umbrellas, their appearance being greated by cries of “Sa! sa! kasa!” from the irrepressible element already mentioned. Unable to endure the general “guying,” the “brollies” are soon removed. Late church-goers passing to their places, incline at least one early bird towards the belief that instead of getting the early worm, he is more apt to get it (some one's geta) where the chicken got the axe - in the neck, to be precise.

Shimo Chikugo-machi

Shimo Chikugo Machi's kasaboko exhibited a shooting outfit - a bow and sheaf of arrows, all surmounted by a large stuffed eagle.

Aburaya-machi

Odori

The Odori which followed was of a humorous variety. A procession of instrumentalists, headed by two youths in warrior garb with huge lune-shaped silver insignia on their helmets, was followed by a dragon and some small boy acroboats. The incidental music was truly Chinese, - shrill fifes, gongs and click-sticks predominating. In the performance which followed the dragon took the leading part; creating much amusement, as also did the efforts of some diminutive boy tumblers who had to be frequently assisted to their feet, they being too fat to rise unaided. An entirely unrehearsed effect was provided by the entry of a stray small dog and an apt rendition of the comedy “Dignity and impudence” ensued as the result of Junsa san's endeavours to evict it, without unbending too much in process of so doing.

Shimo Chikugo-machi

Maruyama Odori

Aburaya-machi Odori

Imakago Machi favoured with a representation in a small portable theater of a scene from the popular Japanese drama, “Ishikawa Goyemon” which was accorded a favourable reception.

Imakago-machi

In the entertainment provided by Kanjia Machi, the forward part of a large, practical boat, elaborately carved gilded and painted with red laqueur was employed. This was placed immediately in front of a small pavillion, giving the illusion of a pleasure boat. The dance was performed by the seven gods, Daikoku Sama, Ebisu Sama, Benten and Co., whose attributes are wealth, laughter, abundance etc. The appearel of the gods was a blaze of colour, the sunlight lighting up the gold and bullion embroideries with dazzling effect.

Kanjia-machi

It is now 8.30 and a cinematographer appears and sets up his camera. In the display provided by Nishi Naka Machi, a heavy float on solid wheels, loaded with a juvenile corps of drummers figured. In the course of the proceedings his car was whirled round and round and finally was sent trundling down the long flight of stone steps to the road below, the bumping and lack of springs, not appearing to upset the equanimity or reduce activities of its occupants, as they continued beating their drums unceasingly during this descente rapide.

Nishi Naka-machi

Higashi Naka Machi provided what possibly was the hit of the day, judged by the reception which this exhibition was accorded and the frequency of the demand for encores. After the Kasaboko and the usual procession of geisha had passed to their places, eight diminutive armoured warriors, samurai all, filed in, their gorgeous gold helmets and armour glistening in the sun. The dance performed by these mimic warriors was accompanied by a gentleman who was in exceptionaly good voice and who sang through a megaphone, rendering every word distinctly. As the song was an heroic measure and well known, the refrain was taken up by the crowd in a rousing style. Encore after encore was demanded and cheerfully responded to. A new musical instrument made its appearance in this turn. This was a huge conch, from which a deep and prolonged note issued, reminiscient of a liner's whistle in a fog.

Higashi Naka-machi

Bungo Machi presented a theatrical performance, the argument or details of which the Pilgrim is unfamiliar with.

Bungo-machi

Motosh’ta Machi presented a very pretty series of dances by six geisha whose kimonos were a combination of vivid blue and green with gold splashes. In this dance they bore on carrying poles, cages containing song birds which might be regarded as symbolic of these same human song birds who also live in gilded cages.

Motosh'ta-machi

Hoka Oura Machi presented another theatrical performance in the course of which, it seemed that one poor mortal was beset by two immortals one of the latter, a lady, emerging from a tree.

Hoka Oura-machi

(Miss Tatsuki Matsuo's fine performance)

The part of the sorely beset mortal was taken by Miss Tatsuki Matsuo, daughter of one of the residents in the machi. Miss Matsuo is a young lady of high dramatic ability, the possessor of a clear, vibrant and well modulated voice and a charming personality.

Towards the finale of the piece, the absorbed tension of the audience was apparent and in the climax, when with clear, ringing notes of defiance, she raised aloft a huge battle-axe, a furore of enthusiastic applause resulted.

Banzai Machi completed this series of interesting performances with a theatrical representation of the dance outside the cavern wherein the Sun Goddess has retired, leaving the world in darkness.

Banzai-machi

The Descent of O Suwa

Views of the Descent of O-Suwa Sama

It is now 11.10 and the Odori (plural unknown) being finished, many people are departing, not caring to wait for the descent of O Suwa Sama, which is not due until 1.00 p.m.

In former years serious accidents have accompanied this descent, as the gilded palanquins, borne upon the backs of many carriers, take the flights of stone steps at a run. Thus the appearance of a Red Cross flag floating over a temporary emergency hospital was readily explainable. However, today the procession takes the upper - the longest and most steep flight - slowly, the rush taking place at the lower flights, thus this year no accidents were reported.

Temporary Shrine at Ohata

In the descent, the order was at follows : -

Youthful retainers of the temple bearing banners. Priests ditto also with the vessels of the sanctuary and the offertory boxes, - large wood coffers with latticed tops.

Next, a fully caprisoned charge was led down the steps; some sure footed nag this who evidently recognised his importance for the day by the manner in which he proudly arched his neck.

Carriers bearing trees, foliage and emblems followed and then the temple drum, a huge ancient looking concern with a diaiayo crest emblazoned there on. The rear was brought up a number of priests in their vestments, with the Abbot and his immediate subordinate officers, all under crimson umbrellas. After a short interval, three distinct booms on the temple gong were heard and then down the steps came three very old, heavily gilded chairs the curtains of which were closely drawn - it was O Suwa Sama en route to Ohata. More priests with red umbrellas completed the procession.

Views of the Procession to Ohata

Handsful of coins were thrown by the multitude and it is understood that this money lying about the steps and in the street is collected and lodged in the coffers, no one apparently being so mean as to retain any for his own use however great his need.

19: October 10th, 1917 Nagasaki: O Suwa Matsuri (continued)

For the last three days Nagasaki has been en fete, celebrating the O Suwa matsuri. Practically all work has been suspended and the people have been out to enjoy themselves in which they appear to have been successful. The weather conditions have been ideal throughout, although towards noon on the opening day, old Sol came out strong, a fact which made the donning of heavier clothes somewhat of a regrettible incident.

O-Suwa-Jisha

The theme of the matsuri is the celebration of the annual airing taken by O Suwa Sama, who on this day leaves his shrine and journeys to Chata, resting there for two days and receiving the homage of his devotees, after which he is escorted back home, where he remains for another year.

Originally the Saint resided at Shimabara but, becoming dissatisfied with the locality, made the trip to Nagasaki in one jump over the intervening mountain; landing at Chata, which is the reason for his annual visitation of the place. O Suwa's progress through the streets, - which are decorated for the occasion, the humblest house hanging out the national flag, paper lanterns and a coloured streamer or two - follows upon the conclusion of a series of odori (dances) and exhibitions of a more-or-less religious character.

These dances, in which rich and rare silks, brocades and exquisite embroideries are exhibited, are given on the stones at the head of the first long flight of steps leading to the O Suwa shrine. Each machi of the eleven which exhibit every year, vies with its competitors in the elaborate or costly nature of its display, the residents of the machi in question contributing money and kind towards their representative delegation.

On these three days the Geisha are out in full force, their ranks being called upon to ensure the success of each display. All the musical and most of the instrumental portion of the proceedings are in their hands while those who neither sing nor play some instrument, stand around and look pretty in their rich and costly dresses - an art in which they are invariably eminently successful.

As the proceedings at the shrine commence shortly after daybreak, an early start has to be made by the would-be sightseer if he desires to gain access to his reserved seat on the “grand stand.” Within half an hour after sunrise, the stands are packed a la sardine, the sole remaining method of access to one's vacant lot being over the heads of the earlier arrivals who, although in a thoroughly festive mood, would certainly object to this means of progress - the ladies with such elaborate coiffures, in particular.

On the first day the order of the proceedings was as follows ;—

A huge, umbrella-like structure (kasaboko) the heavy, central carrying pole borne upright, across the shoulder of a sturdy representative of the exhibiting machi, advanced slowly towards the foot of the upper flight of stone steps. Obeisance was made to the shrine far above, after which, “good joss” was secured for the machi by people in the vicinity throwing salt over the kasaboko.

Retreating a few paces, the bearer circles round and round, finishing a giddy whirl, the heavy structure making the keeping of a sure footing a matter of extreme difficulty. His dexterity receives the plaudits of the crowd, who invariably demand repeated encores, which are always accorded, after which the kasaboko remains at the rear during the ensuing odori, at the completion of which, it heads the procession of the performers, attendants etc., down the steps to the street below, where it proceeds towards Chata to await the coming of O Suwa Sama.

A spirit of hilarity and devil-may-care seemed prevalent among the youthful occupants of the free seats - the upper flight of stone steps, in particular - who had evidently come out for a good time and intended to have it. Many were the good humoured vocal liberties or criticisms, taken or passed upon the exhibitors, some of the sallies creating much amusement and laughter. For example; Custom forbids the opening of an umbrella or sunshade, be the Sun however so hot or his beams so dazzling and the fair one ever so desirous of the preservation of her complexion. Whoever opens and raises aloft her “brolly” is at once greeted with cries of “Sa! Sa! kasa ! (Look, look, umbrella,) an embarrassing fact which leads to the prompt furling of the “brolly.”

Again with regard to the geisha. Most of these ladies are wearing extremely rich and costly kimonos, however, at the outset of their performance, at the least indication of the spreading of a mat, or other protection, whereon they may sit and so save their silks from contact with the bare stones, a roar goes up, “Take away, take away !” and willy-nilly, Miss Geisha resigns herself to sitting upon the cold, hard stones and the possibility of soiling her gown. It is only once a year and it is all in a good cause.

Maruyama Machi, the Local YMCA

After the presentation and whirl of the kasaboko, a dance, with songs and theatrical displays are given, the plays produced generally dealing with some semi-religio-mythologic subject, the details of which are well known to the spectators, they being founded upon ancient Japanese legend.

On this occasion eleven machi exhibited, this being the number represented every year, none of which, with the exception of Maruyama-Yoriyaimachi, the districts wherein the Y.M.C.A. is so strongly represented, will appear next year, their places being taken by exhibitions from another ten machi. The regular, annual appearance at, and the precedence held by this M.-Y. district, is due to the interesting fact that it was the residents thereof who were the first to recognise the saintly attributes of O Suwa Sama on his arrival from Shimabara.

18: October 1st,1917 Nagasaki: O Suwa Matsuri

"Fuji-se" Hama-no-machi

There are to be great doings here on the 7th instant , the occasion being the celebration of the O Suwa matsuri which shares with Bon matsuri (All Souls), in being the greatest among the local religious festivals. O Suwa, it is understood, is the local tutelary saint, who exercises a benificient sway over Nagasaki and its environs, hence the occasion is one for much feasting, odori (dances), processions and a general holiday making which extends over three days.

Matsuri Street Procession

Preparations are already well advanced for the coming celebration and in the course of a stroll through the streets last night many carpenters, electricians and other tradesmen were observed at work on the decorations. Poles, topped by decorated paper lanterns, electrically lighted, the whole surmounted by an open Japanese umbrella, with flags and coloured streamers, were set at short intervals on both sides of the streets and shops and frontages decorated with foliage and ablaze with multi-coloured electric lights presented a very pretty and pleasing effect.

Processions of nondescripts, with music of the fife and drum variety, frequently paraded up and down the crowded streets while in the shop windows, amid a blaze of coloured electric lights, were displayed a profusion of silks, brocades, old and new, and the gorgeous raiment which would figure in the odori and processions on the day of the matsuri, each ward vying with another in the elaborate, costly or artistic character of its display.

Some of the fabrics exhibited were of an exquisite pattern and texture and were undoubtedly of greet value as, apart from the cost of the fabric, the heavy gold bullion employed in the embroidery represented no small figure; even in these days when silver is a king among metals.

A general holiday feeling permeated the thronged streets, notwithstanding which in the shops it was a case of “Business as usual,” with no apparent reduction in prices - even where the announcement “We close on Sunday” was displayed. A noticeable feature in connection with shop signs is the duplication of the announcement in Russian lettering. “Russian spoken here” is frequently met with, as is also, though in a lesser degree, “English spoken here.” Despite the frequency of the intimation, the visitor entering such a store frequently discovers that although undoubtedly English is spoken, it is done solely by the visitor. It is suggested that a useful addition to this popular announcement would be the words: “on both sides of the counter.”

The evening, apparently, was not destined to be entirely devoid of adventure, as ere he had finished his second pipe, the Pilgrim was accosted by a youth of some eighteen summers, an overgrown schoolboy presumably, who with much effusion hailed the wanderer thusly: - (the accent, unfortunately, is unreproducible) “Hualo! Fweare arre you going?”

Now there was a distinct flavour of Auld Caledonia about that “arre,” albeit the querist did not exactly appear “stern and wild.” Still, like a cup of cold water in a thirsty land, it appealed to the writer who, having completed a long-distance course (by gramophone) of Harry Lauder, drew upon his stock of r's and in the braidest of Scots, replied in kind, “Ah dinna ken wherre ahm gangin' tae, bit, ahm on ma wa' hame.”

As the query, apparently, had exhausted the young gentleman's entire English vocabulary, pourparlers were suspended at this point and with a final farewell, querist and questioned passed by as ships in the night.

Carried along in the surge of sightseers, with many a “gomen nasai” given or received, or stumbling or being stumbled against, ere long the Pilgrim lost all sense of locality but keeping the full moon behind him he kept moving on with the crowd. Along long and winding streets, over bridges, up steps and past many exhibitions of gorgeous costumes, until on turning a corner, in the big, bronze tori of Suwa jinsha, a familiar landmark was recognised.

The Big Bronze Torii

SUWA BY MOONLIGHT

The fall moon, shining on the many torii and flights of stone steps recalled Scott's lines on Melrose Abbey:

“If you would see fair Melrose aright

Go, visit it in the pale moon light,”

and, deeming the occasion favourable for a solitary, sentimental visit to the shrine, and a view of the town and harbour in the light of a full moon and a clear sky, the project was put into immediate effect.

Slowly and sedately, up the long and many flights of stone steps, halting for a rest at the head of the first long flight, where the carpenters were busy erecting the temporary grand stand, from which a view of the odori may be obtained on the day of the festival.

Steps to the Shrine

Such work, carried on under the glare of electric lights, seemed a desecration, but as each seat would bring in 2 ½ Yen for a six hours' occupancy, any religious or sentimental scruples are ruthlessly sacrificed upon the altar of the Almighty Dollar, even on the very threshold of the shrine of Nagasaki's tutelary saint. But this is a minor point in this land of bewildering paradox.

On, up still more steps, until at last, far above the noise of saw and hammer, the shrine is reached. Here an impressive calm prevails, the heavy, groined roofs, torii and the spreading branches of the cryptomeries, casting shadows of varying density; while elsewhere all around is laved in the effulgent moonlight.

The Shrine Osuwa Junsha

On the tatami before the screen in front of the holy of holies, knelt several quiet figures, intent upon their devotions and the simplicity of the shrine itself, after the elaborate approach thereunto was impressive.

Then to a familiar spot; the small clearing, from whence an exquisite view of the town and harbour is obtained. In the light of the full moon, the view was worthy of the toiling up the long steps, although in the immediate vicinity, the harsh glare of the electric lights spoiled the general effect of the moonbeams through the leaves and branches overhead.

How different to the scene one such night some twenty years agone, when chaste Diana's sole competitor was the soft, diffused glow from a few andons (paper shaded lamps) or the paper shoji of the nearby chava! There was no mistake about it; the two lights clashed. Electricity (unshaded) and moonlight will not blend and echoing Kipling, one exclaims:-

“Sainted Diana! Can that be, the moon of other days?”

In a quiet corner, deep in the shadows, one views the town below and the houses on the slopes of the hills, with their myriad of lights. In the distance, is seen the harbour with the lamps of anchored vessels, from which, borne on the light breeze, come the chimes as eight bells are struck. The, deep, vibrant boom of some temple gong flouts across the intervening valley proclaiming the fact that Bonze San is telling his beads; a light breeze rustles the branches overhead and the ‘chirping’ of crickets is all that disturbs a silence which inspires a mood of introspective contemplation.

Kiyomizu Temple

View from O-Suwa, Kiyomizu Temple

Yon everlasting hills and these aged and noble trees seem to mock the littleness of Man and “rub in” the fact that he is but a mote dancing in the sunbeams. And what of the Faith which reared this sacred fane, who so cocksure in his own little Bethel, that he may stigmatise it as “heathen!” And yet there are many such, overlooking the fact, for fact it is, that all Faiths are allied and spring from the same sources - the fear of the unknown. Perchance the old “Tentmaker” is right, after all, who can say?

Tsuki-ni Chaya (with author's chair)

Musings at this point were interrupted by the appearance of little Chitose San with an invitation to partake of refreshments at the nearby chava. Reinforced by a most expensive thirst, the blandishments prevailed and the Pilgrim was soon seated at a table in front of a long, cool drink.

Bussiness being slack, seats at the table were taken by the two pretty nesans for a chat and tuition in English, the party being joined by an intelligent young gentleman, who proffers the information that he was an electrical engineer, whose command of English was fair, although in the matter of figures he was somewhat mixed.

The "Three Million Ton Battleship"

For example, Japan is liable to startle the world some time about the middle of next year as, (if the Censor will pass this startling bit of naval information!) a three million-ton battleship will be launched from one of her shipyards!

Desirous of “doing his bit” towards the popularisation of the coming Universal Language, the Pilgrim chatted on, improving the (literaly) shining hour, all unconscious of the flight of time. But glance at the watch shows that it is ten o'clock and as it is nearly an hour's wait to the base, “school” is dismissed and after farewells and promises to come again, with a parting view of the scene “and so home, to bed,” as friend Pepys hath it.

17: September 25th, 1917: The Manda Coal Mine

By the good offices of a friend, on telephoning to one of the assistant managers, at the Manda mine permission was granted the party to inspect this portion of the Mitsui Co.'s property.

The Manda Mine

From Miike to the mine entailed a journey of about half an hour by rickshaw, the way lying along roads through the paddy fields, passing small hamlets, where the advent of no less than four idjin san (Europeans) created no little stir and speculation. In the distance, the Manda Mine, the objective, was visible while the derricks, smoke-stacks and buildings of five other mines showed up plainly, or peeped over the shoulders of intervening hills. One mine, understood to be the Miyanohara, is operated by means of indentured labour, the operatives consisting of convicts, each of whom has been sentenced to a term of not less than ten years penal servitude.

The Miyanohara Mine

The Mitsui Co., it is understood, contracts with the Authorities for the supply of this labour, each convict engaged receiveing a settled, daily wage.

This money, however, is witheld and allowed to accumulate until the term of penal servitude is completed; thus Jiro, Taro or O Tsuke San - for, Alas! there are “lady-helps” - will have a considerable pay to “lift” or, the happy day when, purged of his, or her, offence, they may resume their place among their fellow freemen.

The discovery of the local coal deposits is attributed to a farmer, in the year 1469, shortly after which, work was commenced in a primitive way.

Nowadays, however, under the capable management of the Mitsui Co., the annual output is estimated at some 1,800,000 tons and the mines have been the property of the Company since their transfer by the Government in 1888.

A courteous reception was accorded the party on their arrival at the mine, one of the assistant managers receiveing visitors in a temporary office, the office proper being dismantled and in the hands of painters and decorators.

After partaking of tea, plans of the extensive workings underground were shown and explained to the visitors.

An immense amount of timber is used annually in these workings and to minimise expense an ingenious device has been adopted. A tunnel is excavated in the seam and this is afterwards filled, under pressure, with a mixture of sand and waste which is pumped into it. This latter on drying forms a solid shore of concrete, thus enabling the coal to be worked out on either side of it.

Getting the Coal

A gentleman connected with the office staff who spoke English, was delegated to guide the visitors on their tour of inspection and the first visit was made to the Pump Room, where five gigantic “Davy” pumps, three of which were at work, are installed, their huge, lattice-girder beams working back and forward majestically while a small river of rust coloured water rushed away from the discharge to plague the farmers in the vicinity.

Pit-Head, Working Level

Next to the pit-head, where trucks laden with coal, or retured empties, are rising and falling day and night, week in and out.

It was gathered that the depth of the shaft of which there are three, one being reserved exclusively for labourers and materials, was 950 feet and that the cage with its two trucks, drops (or rises) this distance in forty seconds.

Underground, Bottom of Shaft

At this point, some discussion ensued and the pilgrim, ascertaining that a trip underground was in contemplation; began to sing (con expressione) “Ah! Don't go down the mine, Daddy,” which helped to persuade the one member of the party so desirous to remain above ground.

A visit to the Winding Room followed; in the outer one an emergency reel, upon which was wound a six inch steel hawser, was at rest, this being reserved for emergencies or for heavy weights.

The Winding Room

In the Winding Room, proper, are installed the large reels and machinery which operate the cables each of which passes out over the sheaves at the head of the derrick and down to the bottom of the shaft. Here steam is the motive power and, bearing in mind the extent of his responsibities, it is a case of:

“Don't speak to the man at the wheel.”

In the present instance, however, it is the man at the lever.

Behind each winding reel, with his eyes on the indicator and his hands on starting lever and reversing gear, stood one of these men and as the visitors watched, somewhere overhead an engine-room telegraph clanged. A small electric lamp lit up momentarily as the great reel began to revolve, winding in the wire hawser while in front, a dial, round which an indicator swung, showed the progress of the cage up the shaft a bell ringing and an automatic stop coming into play when the pointer on the indicator showed that the cage had arrived at the top.

Numerous safety devices abound to correct the personal equation, or an accident to the machinery. Accidents, however, are extremely rare, a fact which speaks well for the skill of the operatives and the care of the management.

It is which extreme gratification that the visitors note that, with one exception, the machinery throughout the mine, where not of Japanese construction, is the product of British engineering shops.

The exception referred to is the dynamo room and it is confidently anticipated that eventually the management will experience the demonstrations of the “cheap and nasty” that the Shanghai Municipal Council have had with their Boche-constructed electrical machinery.

At the pit-head (working level) the coal-laden trucks brought up the shaft and the empties going down work almost automatically. Double tracks of small narrow gauge railway, automatic checks and impulses with the use of gravitation; render manual labour unnecessary, beyond a general attendance to signals, or an occasional push, to start a car on its way down the track to the first weighing machine. At this latter point the truck stops automatically and while being weighed, the “card” of the party underground who have filled it is detatched from the truck and filed in the weigh-room, while the truck passes on to an automatic tip which discharges its contents down a chute, into the screening room, the empty truck continuing down a slope and round to the pit-head again, the last few yards (to check its momentum) being a sharp up grade, where it is assisted by an endless belt, having projecting spurs which engage and disengage themselves from the axle.

Down an iron staircase into the Screening Room. Here a terrific din prevails, the screening machinery making so much noise that a knowledge of “lip-reading” is absolutely necessary if one would converse with his fellow-man.

The Screening Room

Here the coal, tipped from the trucks above first passes over a sifter an arrangement resembling the moving fire-bars of an automatic stoker; this allows the dust to fall into another department where it is made into briquettes. The lump coal passes to a broad endless belt made of iron plates the clatter and clang of which is the cause of the infernal din.

On each side of this conveyer stand a number of women and girls, who select the coal as it passes before them and pick out the lumps of shale, stone &c., and throw them into receptacles provided for that purpose.

The remarkable absence of dust enables these girls to keep themselves clean even at such work as selecting coal, their hands only showing evidence of their labours and their head towels with which they protect their hair and the bright colours of their kimonos, present a pleasing aspect in this noisy inferno.

After leaving the screening room, the coal is again weighed and loaded on trucks, ready for its trip to the coal tips at the Dock.

American Transport "Dix"

In the Lamp Room which was next visited, the thousands of lamps in their racks and the large staff of lamp-trimmers, indicated the large number necessary for the operation of the mine, especially as the lamps in use by the shift at work underground were, of course, absent.

Many of the working galleries underground are lighted by electricity but the portable lamp used by the miners seems to be a type of the “Geordy” lamp, instead of the “Davy,” as used in British collieries. A light, volatile oil is used and each lamp is fitted with an electric switch at the bottom, by means of which the closed lamp may be relighted, should it accidentally be put out.

The Dynamo Room, in which a large ventilating fan is installed, was not visited. Respect for their watches entailed the visitors keeping a respectable distance from the numerous dynamos. Most of the machinery also, being of Boche manufacture, it consequantly, did not interest the visitors.

In the Boiler Rooms, a battery of 19 Babcock and Wilcox W. T. boilers, each with rotary fire-bars and automatic stokers, supplements the 14 large Lancashire boilers installed in an adjacent building.

An interesting feature in connection with these Lancashire boilers is the fact that they were brought out to Japan by steamers of Blue Funnel Line to Nagasaki, where they were discharged into the water, to be floated round to Miike by tug-boats. One hundred and twenty firemen on three shifts are employed at this mine.

The mine itself gives employment to some 4,000 operatives of both sexes. Work underground, getting the coal, is carried on by partnerships of six, frequently such partnership consisting of a man, his wife and children.

A Family "Partnership"

Coke of an excellent grade is made at the large coke-ovens installed near the mine, a network of overhead cables conveying coal or coke to or from the ovens. On returning to the office, the afternoon shift was observed coming up from their work underground. From the shaft the miners of both sexes proceeded to the large bath-houses maintained by the Company where, after a hot bath and a change to their above-ground clothing, they proceed homeward, looking so clean and fresh that one can scarcely credit the fact that they had been toiling underground for the preceding twelve hours.