Kintsugi: The Wabi Sabi Art of

Japanese Ceramic Repair Kaori

Mochinaga
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THE WABI SABI ART OF JAPANESE CERAMIC REPAIR

KAORI MOCHINAGA
CONTENTS

Why I Wrote This Book 4

The Appeal of Kintsugi (Part 1) 6
The Appeal of Kintsugi (Part 2) 8

PART 1
Get to Know the Tools and Materials for Kintsugi
Determining the Mending Technique(s) 12
Mending Preparations 14
Basic Tools Materials 16
Basic Tools Materials 18
Tool Maintenance 19
Finishing Tools Materials 20
Finishing Tools Materials 22
Tools Materials for Specific Repairs 23
Urushi for Filling Chips 24
Urushi as an Adhesive 26
Get to Know Urushi 28
PART 2
Repairing Small Fragments
Chipped Pottery (Part 1) Oribe-Style Glazed Small Bowl 30
Chipped Pottery (Part 2) Soto-Yakishime Bowl 38
Chipped Pottery (Part 1) White Porcelain Drape Cup 44
Chipped Pottery (Part 2) White Porcelain Flower-Shaped Small Dish 50

PART 3
Mending Cracks
Cracked Porcelain – White Porcelain Cup 58
Different Types of Cracks 66

PART 4
Mending Fragments
Pottery Fragments (Part 1) Oribe-Style Glazed Fin Cup 68 NOTE: This book introduces
many Japanese terms pertaining to
Pottery Fragments (Part 2) Sometsuke Rice Bowl 74
the tools, materials and processes
Pottery Fragments (Part 1) Iron Glaze Mortar 82 involved in the art of kintsugi. We
Mending Without Urushi 90 strongly encourage you to read
through Lesson 13 to familiarize
yourself with the basics before
embarking on any of the projects
PART 5 in this book.
Complex Repairs
Large Chips Oribe-Style Glazed Small Bowl 92
Complex Repairs: White Mug 100
Complex Repairs: White Kohiki Pot with Handle 108
Complex Repairs: Rakuyaki Matcha Bowl 116
Mending Glass 124
Kintsugi Q & A 125
Afterword 127
Why I Wrote This Book
My work is propelled by my fascination with “urushi”—the lacquer used for kintsugi.
For me, kintsugi is not merely a practical process of repairing broken pottery, adding some
gold paint and calling it good. When an item breaks, we realize how precious it is to us, and
a bloom of compassion unfurls for the one who accidentally causes the break. The various
episodes surrounding the damage are engraved within the repairs—these alchemical elements
add depth and beauty to the mended piece, perhaps even more depth and beauty than it had in
its unmarred, pristine state.

4
 I believe this is the true appeal of kintsugi. Urushi has been around since ancient times, and the
more we know about it, the more surprising and delightful its beauty and versatility. The use of
urushi to repair pottery and ceramics is a time-consuming process that may feel daunting at first.
However, it is precisely because the current world is so fast-paced that this deliberate slowing
down with detailed consideration of the seasons, temperatures, and humidity is a rich and
rewarding experience. What an honor it would be for me if you, too, could feel the ineffable
stirring that comes from using the art of kintsugi with your very own hands to breathe life back
into a beloved, broken item.
“Mono Tsugi” — Kaori Mochinaga

5
 Lesson The Appeal of Kintsugi (Part 1)

01 Urushi is Food Safe

6
Considered a “natural glue,” you can feel safe about
using non-toxic urushi to repair tableware. Seeing
the lovingly mended plates, bowls and cups on your
dining table will make your every meal extra special.
77
 Lesson The Appeal of Kintsugi (Part 2)

02 Appreciate the Cracks and Chips as

Design Elements

8
Even if your favorite cup breaks, kintsugi will give it
a new makeover. Instead of lamenting the breakage,
let’s embrace and love the opportunity to create
something new and beautiful through mending.

9
1100
 PART 1

Get to Know the Tools

and Materials for Kintsugi
 Lesson Determining the Mending Technique(s)

03 Choose the Repair Technique that

Works Best for Your Item
The item in need of restoration may have sustained different kinds of damage such as
dings, cracks, chips, fissures, etc. and each will require a different method of mending.
It’s important to carefully assess the damage, then determine the appropriate method.
This section will feature the common types of damage and refers to pages with applicable
mending techniques. Please use this section along with the “Mending Preparations”
segment on pages 14-15.

Small Chips
Frequently found along the rim of a vessel.
More often than not, the broken piece is no longer
available, so the indentation will need to be filled.
£ PART 2 page 31

If the broken piece is available, glue the piece back

on first, then fill any remaining chipped areas.
£ PART 2 page 51

Cracks
An example of a hairline crack or fissure. At first
glance, it’s often difficult to know the actual depth
and length of the crack, and a way to determine
the extent of the damage is by pouring raw lacquer
(ki-urushi) into the cracked area. If the lacquer
doesn’t seep through, the crack is shallow enough
to be repaired with the rice “togi-jiru” method.
£ PART 3 page 59

12
Fragments
When the vessel has broken apart into fragmented
pieces. The fragments will be glued together with
urushi. This method is ideal when the fragments
fit together perfectly without any chips.
£ PART 4 page 69

When the breakage results in chips and fissures

in addition to fragments.
£ PART 4 page 75

Large Chips Broken Handles

When larger chunks of the vessel have broken
off, typically along the top rim. The chipped piece
is no longer available; therefore, urushi putty
will need to fill the space. This type of repair is
considered the most challenging.
£ PART 5 page 93

Due to the repeated stress load, typically slender

handles will break off easily. Extra reinforcements
will be added as part of the mending process.
£ PART 5 page 101

Complex Repairs
When there are many fragments in various sizes.
Prior to gluing, the pieces will need to be pre-
assembled to determine the assembly order.
£ PART 5 page 117

13
 Lesson Mending Preparations

04 How to Clean and Prepare the Surface

Before Repairing the Item
When the vessel is No need to wash
broken but clean Sterilize with alcohol

When the vessel is broken

Taking care not to cut yourself, scrape off the
and there is food remains, Dry
food and gently wash with dish detergent
dirt or dust

A little Wipe with a damp melamine sponge Disinfect the area with
and allow to dry for a full day benzene or ethanol
Tea stains
Immerse in fresh water for 10 Immerse in fresh
A lot minutes, then soak in diluted water, then gently Dry
bleach to clean wash

Wrap vessel in a white

When the vessel is bro- Boil for about 30 Gently wash with dish
cloth, immerse in a pot
ken and has embedded minutes and turn detergent and air dry
of water and bring to a
oil stains and dirt off heat. Let cool. for about one week.
slow boil.
Additional considerations for vessels made with softer clay or when there are cracks and fissures.

Clean and prepare the vessels before embarking

on repairs. The most important factor in
mending is whether the urushi (lacquer) will
soak in and stick. The variety of source materials
such as pottery, porcelain, earthenware and
stoneware as well as the mix of glazes may seem
overwhelming when determining the mending
method, but regardless of the type of vessel, you
can do a preliminary test of how absorbent the
material is with a single drop of water.
Cleaning Tips
The urushi will not adequately harden if there is
oil residue, dust or moisture on the vessel. This
will also weaken the repairs. Use the appropriate
cleaning methods before proceeding to mending
techniques.
Wipe off any moisture after washing the vessel and
air dry in a well-ventilated area. Air dry porcelain for
two to three days and pottery for at least one week.

Old vessels with aged, ingrained dirt may add vintage charm and character so you may want to avoid cleaning every part of the vessel.
Just make sure that the areas to be repaired are free of debris and oily residues.
When removing synthetic adhesives, utilize solvents specifically designed for the adhesive. Alternatively, immerse
the vessel in boiling water to loosen the adhesive and scrape off any remaining adhesive with a blade or hera.

14
 Soaks

used for filling)

is the urushi
Sabi-tsuke (this
Chips
Add one (pottery)
drop of water Apply Kishaku Ki-urushi Place in muro (also called
on the dam- Does not (diluted raw lacquer) and furo), essentially the drying
aged part soak (por- press with tissue (porce- box used to cure kintsugi,
celain) lain) for 30 minutes (half curing)

Soaks
(pottery)
Roughly sand the damaged Place in muro (also
Fragments

Mugi-urushi
section with a file or similar tool. called furo), essentially
Does not Apply Kishaku Ki-urushi (diluted the drying box used to
Add one soak (por-
drop of water raw lacquer) and press with tissue cure kintsugi, for 30
celain) (refer to page 70) minutes (half curing)
on the dam-
aged part
Soaks a Apply Kishaku Shiro Urushi (diluted Place in “muro”
lot (soft white lacquer) and press with tissue for one day (cure
porcelain) (refer to page 110) completely)

NOTE: If the breakage is complicated or if the broken pieces do not fit perfectly together, use a file
or similar tool to lightly smooth out beveled sections or angled areas to enable better fit.

Glaze is intact and smooth

Crack Repair
Cracks
Coarse-textured glaze or
Protect the area around the crack with masking tape
firing (easily gets dirty)
NOTE: If masking tape is not applied, be careful not to get urushi
on other parts of the vessel.
Missing
piece(s) The technique used here is the same as fragments: prepare the vessel then apply the lacquer. If repairing
fragments that are bigger than the shown sample (refer to page 92), a foundational filler piece made of
linen or washi paper may be necessary.

Various types
of damage
If there are multiple types of damage, repair in this order: cracks fragments → chips.

For absolute beginners, the preparatory urushi

step is not necessary. However, for the more Surface Preparation Tips
seasoned kintsugi practitioner, the preparatory When the damaged area has a rough texture,
urushi step may be incorporated to increase the urushi will adhere well so preparing the surface
longevity of the repair. may not be necessary.

Conversely, if the damaged area is smooth, the

urushi will not adhere effectively so make sure to
prepare by filing/sanding.

If the damaged area is crumbling due to the

softness of the material, preparation is necessary
to avoid the excessive absorption of urushi, which
will weaken the repairs.

15
 Lesson Basic Tools Materials

05 Choose the Tools and Materials for

Mending
27
10 26

13

12
11
9 28
1
2
14 15 7

6 25 24 23 22
18
3

16
5
4
17 19

21
20

The 3 basic types of urushi to have on hand

Kintsugi has two main processes:
1. Repair broken vessels with urushi
2. Apply gold powder along repaired seams
This section will list the essential tools and
materials for the first process.
You will want to prepare three kinds of urushi:
ki-urushi (raw lacquer), kuroroiro-urushi (black
urushi), eurushu (picture urushi). The addition of
glass-specific urushi and white urushi will further
expand your mending repertoire, but the three
kinds will suffice. Gauge your skill level and add
other types of urushi as needed.

16
Basic Tools for Mending
① Glass sheet Use like a palette for various types of urushi. Smooth surfaces like tiles could work as well.
② Hera In general, a hera is a spatula-like took that can be used for mixing, applying and scraping urushi.
We use it to knead flour or tonoko (abrasive powder). Use a plastic model with some flexibility.
③ Knives and blades Use to shave or scrape the base urushi. When scraping the interior of a vessel, use a knife with a
rounded tip such as a palette knife, scalpel or craft knife.
④ Brush Use to apply kuroroiro-urushi (black lacquer) and e-urushi (art urushi that is reddish in hue).
A thin round brush and a small flat brush are useful.
⑤ Thin hera varieties Use for filling chips and applying mugi-urushi. Bamboo and metal types are available.
⑥ Cotton swab Use for wiping excess urushi or to prepare the urushi filling. Try to find the small swabs meant
for babies.
⑦ Holder for brushes Use as a resting place for brushes and heras in between steps.
and heras
⑧ Wipes Paper wipes. Use to soak with benzene for cleaning.
⑨ Plastic wrap To preserve freshly made urushi. Also use to form the filler shapes when repairing chips and
fragments. Find kitchen wraps made of thicker plastic.
⑩ Benzene Use to clean vessels and tools. May substitute anhydrous ethanol.
⑪ Cooking oil Use to cleanse brushes or to remove urushi if it gets on skin.
⑫ Kerosene Use to dilute urushi (1:1 ratio). Utilize a small bottle with a dropper to dispense one drop at a
time. Turpentine works as well.
⑬ Water dispenser Use to make the base urushi. A spout bottle is handy.
⑭ Scissors Use to cut sandpaper or hemp thread.
⑮ Tweezers Use for small shards and fragments.
⑯ Sandpaper Use when sanding the urushi filling. 600 grit and 800 grit are handy.
⑰ Microfinishing film Use to polish the base coat glass-specific urushi and nakanuri.
⑱ Diamond drill bit Use to prepare surfaces or to add scratches.
⑲ Tokusa (horsetail plant Use to sand the edges of urushi filling. Tokusa is used exclusively in this book.
scouring brush) •
Charcoal
⑳ Masking tape Use to temporarily secure fragments or to protect delicate surfaces from urushi.
Rubber gloves If you are a sensitive to urushi, always wear gloves.

Basic Materials for Mending

Ki-urushi Filtered raw lacquer from the urushi tree sap. A very important part of all kintsugi projects.
Kuroroiro-urushi Use for the base coat glass-specific urushi and nakanuri (middle layer). The black color is
achieved by combining ki-urushi with oxidized iron.
Bengaraurushi Use before applying gold powder. The reddish-brown color results from adding bengara pig-
(e-urushi) ment into ki-urushi.
Glass-specific urushi Combining kuroroiro-urushi and e-urushi with a 1:1 ratio forms a lacquer that adheres better
on glazed surfaces. This book uses the kijiro brand.
Tonoko Use to create urushi filling for chipped areas. Made of fine whetstone powder.
Djinoko Blend into urushi to fill deep and/or large chips. Made of steamed and powdered Diatoma
ceous earth.
Flour Use to make the mugi-urushi glue.

17
 Lesson Basic Tools Materials

06 Get to Know Basic Tools and Materials

Prepare the muro (lacquer curing bath) Wear gloves

Urushi hardens in a humidity level of 70-85% and over 78°F/20°C temperature, so Beginners should always wear rubber
it is necessary to place it in a box (room) in which the temperature and humidity gloves when handling urushi. Don’t for-
can be controlled. Insert a thermo-hygrometer and a container of water or damp- get to cover work surfaces with newspa-
ened cloth in a lidded wooden or plastic box to create an optimal environment per sheets or other protective materials.
for curing the urushi.
Sand with tokusa (horsetail plant) Polish with microfinishing film

Once the chip has been filled with urushi and roughly scraped with a knife, immerse The film has adhesive on one side. Cut
the tokusa in water and use it to sand down the surface. Tokusa will not scratch the into small pieces, peel the paper backing
glaze. Dried tokusa stems can be found online. You may want to split the tokusa open and stick to an eraser or fingertip to
and attach a gum tape backing to make it easier to use, but tokusa can be used as is. use. An ideal way to polish the urushi
surface.
Strain urushi

Due to the natural impurities in the
urushi, using it directly from the tube
will result in uneven textures. To pre-
vent this, make sure to strain the lacquer
especially for the final paint layer, just
before sprinkling the gold powder.
Cut two small pieces of miyoshino If you strain the urushi onto a piece of
paper (a porous paper), layer them and plastic wrap, storing the urushi will be
place a dollop of urushi on top. Twist easier later.
the paper pieces to strain the urushi.

18
 Lesson Tool Maintenance

07 Caring for Your Tools

Wash the paintbrush used for applying urushi

Wipe as much of the urushi off of the Use a flexible hera to scrub the brush Wipe off urushi with tissue. Repeat this
paintbrush with tissue, then soak the hairs to remove more of the urushi. removal process 3 to 4 times to elimi-
brush tip in cooking oil. Gently press the hera, starting at the nate as much urushi as possible. Finally,
base of the brush hairs. reshape the brush tip and store.

Use brushes that have been cleaned with cooking oil

To use the oil-cleaned brush, soak the brush in benzene first to remove the oil. Carefully clean with a wipe or tissue,
Ethanol disinfectant or turpentine may be used as well. If oil remains on the brush making sure to avoid dust. The brush is
hairs, the painted urushi will not dry. now ready for use.

Cleaning the hera and glass sheet

Before you begin and in between pro- Use another hera to scrape off any Clean the glass sheet with benzene-in-
cesses, always clean the hera and glass urushi off of the hera and wipe off with fused tissue.
sheet with benzene. a tissue. Consider using small rags for
wiping purposes.

19
 Lesson Finishing Tools Materials

08 Prepare the Finishing Tools for Gold

and Silver Powder

13

8
12

5 10

3 7
4

2
11

Place the marufun (gold powder with larger, rounded particles) in a fundzutsu
(bamboo tube with a net made out of silk or gauze) first. Use mawata (silk
blend wadding) to apply keshifun (gold powder with fine, smaller particles).
Once the vessel is repaired, it’s time to proceed Gold powder has a vivacious luster and beauty
with the decorative finish using the“Maki-e” unique to the metal. Silver powder evokes a
method (a painting technique developed in the calmer, cooler impression. Each type of powder
Heian period [794-1195 CE]). Maki-e involves comes in marufun and keshifun form; use a
sprinkling gold or silver powder for decorative fundzutsu for marufun powders and mawata for
effect as well as painting with colored urushi. The keshifun. A dusting brush called harai kebo will
gold powder eventually became synonymous with be necessary for both types of powder.
the quintessential kintsugi finish.

20
Finishing Tools
① Harai kebo Use to sweep loose gold and silver powder after application.

② Taiki Use to polish the marufun particles to create a glossy finish.

③ Fundzutsu A bamboo tube used for sprinkling marufun. The gauze or silk net at the tip acts as a sieve
for the powder. We used one with a 150 (medium-coarse) mesh.
④ Funsaji Use to fill the fundzutsu with marufun. A thin round brush and a small flat brush are useful.
⑤ Menou Agate burnisher used to polish the hardened marufun. A substitute for the traditional tool
called “taiki” which was originally made out of fish teeth.
⑥ Funchin Use as weights to hold down the powder wrapping. Small, smooth stones would work as well.
⑦ Mawata Use to sprinkle keshifun. Translates to “silk wadding” but it is actually made out of a silk
blend material.
⑧ Miyoshino paper Use to strain the impurities out of the urushi that will be used for the finishing process.
(Straining paper)
⑨ Microfinishing film Once the marufun has been sprinkled and the urushi has cured, use the microfinishing film
to lightly sand the surface (Buflex Green brand).

Finishing Materials
⑩ Marufun Powder that will be polished to a glossy finish. To create the powder, a file is used to shave
(Gold powder • gold nuggets, then the filings are crushed into rounded particles. The powder comes in
Silver powder) various sizes starting with #1, and this book uses sizes #3 and #5. The smaller the number,
the finer the powder.
⑪ Keshifun The smaller keshifun particles, which are formed from crushed gold and silver leaf, create a
(Gold powder • more matte finish. Since the finer particles will stick to the fundzutsu, mawata is used for
Silver powder) sprinkling keshifun.
⑫ Amor (Kiku-Amol Use as an additional polishing step after the agate burnisher/taiki. Made of an abrasive alu-
a is similar product) mina compound diluted with oil. Scoop a small amount onto a cloth and polish the gold or
silver powder. A smaller tin size is available as well.
⑬ Roirio migakiko To use this polishing powder, apply a thin layer of oil on the desired surface with a cotton
swab, then take a small amount of the roiro migakiko onto your fingertip and polish the
surface. Follow up by wiping the area with a tissue to create a shiny finish.

Keshifun finish Migaki (Glossy) Finish

Gold Keshifun Gold Marufun #5 Gold Marufun #3

E-urushi
Polish
Roiro urushi

Sabi-urushi
Vessel Vessel

The goal with keshifun is to create a thin golden layer. The gold is hardened with the urushi and polished to
It has a more muted and matte glow. It’s an easier pow- a high shine. Blending the #3 gold powder into the #5
der for beginners to handle. Conversely, the textured powder yields a denser gold layer. Start by practicing
and thicker layer of marufun is trickier to maneuver. with a small chipped area.

21
 Lesson Finishing Tools Materials

09 Learn to Use Gold Powder to Create

Beautiful Finishes
Sprinkle gold marufun with the fundzutsu tube (the process is the same for silver marufun)

Pour gold powder into the fundzutsu
with the funsaji.
With your index finger, gently tap the fundzutsu until the powder settles into the
gauze end, then use your middle finger to sprinkle the powder over the repaired
area. Once the #5 powder has been sprinkled, sweep the area with the harai kebo
to collect the loose powder. Next, embed #3 powder on top of the #5 powder with
the harai kebo.

Gauge the best time to sprinkle the gold powder

④ ③ ② ①

It’s important to gauge the best timing to sprinkle the precious metal powder. ① The powder has been applied too
The optimal condition for powder adhesion will vary depending on the state of soon and is sinking into the surface,
the urushi and seasonal weather. It’s a good idea to use a test piece before sprin- blurring the urushi. ② ~ ③ The timing
kling the powder on the repaired vessel. During summer, test the powder in 10 of sprinkling the powder is just right. ④
minute intervals and in the winter, try 20 minute intervals for testing. (Since The urushi has already started to cure
gold powder is more expensive, conduct testing with silver powder.) and it is too late to sprinkle the powder.

How to polish marufun How to polish keshifun

Gently polish with a taiki or agate burnisher. Use the taiki by Pull the mawata vertically and horizontally to stretch out the
laying it on its side. After the initial polishing, apply some fibers, then form it into a ball. Rotate the mawata across the sur-
migakiko polishing powder and polish for extra shine. face to apply the gold powder, and brush off the excess powder.

22
 Lesson Tools Materials for Specific Repairs

10 Get to Know Tools and Materials for

Complex Repairs
① Joshinko
Use to make the rice glue which will then be blended
5
into ki-urushi to make a lacquer glue called nori-urushi.
4
② Kinoko
Sawdust for mixing with nori urushi to create mold
able, putty-like substance called kokuso-urushi.
③ Kokuso wata
Use to mix into nori-urushi to make the kokuso-urushi
(lacquer putty). The fiber in the kokuso-wata strength-
ens the putty. Alternatively, cut up small pieces of
linen or hemp fabric.
④ Hemp thread
Use to reinforce the damaged section of a cup handle,
for example. Unwaxed thread works better.

1
⑤ Liquid rubber (water soluble)
3 A type of liquid latex used when glazing ceramics that
creates a water repellent barrier. Wood glue can be
2 substituted. Liquid rubber is better than tape when
masking more complicated breakages. Thicker layers
are easier to peel off. Because the liquid rubber will
quickly ruin paintbrushes, use cotton swabs to apply.
Making glue with a microwave

Joshinko: Mix 1 teaspoon of joshinko + water. Place 3 tea- When the glue turns lumpy, strain the mixture onto plastic
spoons of the joshinko mixture into a heat-safe bowl. Heat in wrap. Once the glue has cooled down, it is ready for use. Stay
the microwave (about 30 seconds at about 500W). Immediate- close to the microwave and keep an eye on the mixture. As
ly remove from the microwave when the mixture puffs up and soon as it puffs up, remove it from the microwave and stir.
mix for 10 seconds. Heat again before the mixture cools down.
The mixture will puff up again. Repeat the heating and mixing
step 6 times, and the glue should look like the photo.

Making glue in a pot

Place joshinko (1 tablespoon) and water (4 tablespoons) into a small pot and mix thoroughly. Cook over low heat and use
a hera to continually stir the mixture. When the mixture starts to bubble, remove from heat and continue to stir vigorously.
Add little bits of water as needed and continue to stir until the mixture is slightly transparent. As a final step, add about dou-
ble the amount of water and stir for an additional 20 to 30 minutes. Leaving the hardened glue along the edge of the pot and
hera, fold the soft glue into plastic wrap. Once the glue has cooled, it is ready for use.

23
 Lesson Urushi for Filling Chips

11 How to Immediately Seal Sabi-urushi

Tonoko
(abrasive powder)
Water bottle

Plastic wrap Benzene

Glass sheet

Gloves
Hera

Ki-urushi
Spoon (raw lacquer)

Combine ki-urushi with tonoko to make the urushi filling

Small chips can be repaired with sabi-urushi. Make
the sabi-urushi by mixing ki-urushi, water and
kneaded tonoko. The texture and color resembles
“sabi” which is the Japanese word for rusted iron.
Although sabi-urushi is used to repair chips, its
fine grain and smoothness makes it an excellent
material to use as the base coat glass-specific urushi
in the preparatory work.
Exposure to air instantly changes the properties
of sabi-urushi so it is important to work quickly.
Do not used the black and hardened parts of sabi-
urushi and utilize the softer parts underneath.

24
Make the sabi-urushi

Place tonoko on the glass sheet.
1 About 2.5grams of tonoko is
shown here, but it’s easier to start
with about 1 teaspoon. Use a hera
to gather and crush the tonoko.
Pour out a small amount of water
2 next to the crushed tonoko. Eye-
ball an amount that is about half
the size of the tonoko. Start with
a small amount of water and add
more as needed.
Blend the water into the tonoko
3 and mix until smooth. If there is
too much water, use a tissue to
soak up the excess water. Knead
until it has the consistency of
dough and holds its shape.

Ki-urushi TIP Start by adding half of the

ki-urushi and assess the texture
and add more as needed

Tonoko

Pour out ki-urushi. The amount
4 should be a little less than the
tonoko.
Quickly mix in half of the
5 ki-urushi and add the other
half.
When you spread the mixture
6 with a hera and it looks glossy,
the sabi-urushi is ready. Since
sabi-urushi will start to oxidize,
quickly seal the mixture and use
within 2 to 3 days.

Helpful Pointers

Wrap the Mixture

Once the sabi-urushi mixture is complete,
press out any extra air and encase in plastic
wrap. Use the edge of the table to scrape the
sabi-urushi into the plastic wrap. Write the
name of the urushi and date on a piece of
tape and stick it onto the plastic-wrapped
mixture.

25
 Lesson Urushi as an Adhesive

12 How to Make the Mugi-urushi

More Flexible

Benzene
Flour
Plastic wrap

Water bottle

Glass sheet
Gloves

Hera

Ki-urushi
(raw lacquer) Spoon

The Gluten in the Flour Creates the Adhesiveness

Mugi-urushi combines flour and ki-urushi,
kneaded into a glutinous mixture. Because ki-
urushi does not have enough adhesive properties
on its own, it cannot be used to glue broken
pieces together. The addition of the gluten in flour
creates the glue-like urushi compound.
Knead until the mixture has a consistency like chew-
ing gum. Knead out extra air, encase in plastic
wrap and place in the refrigerator to store. Try to
use it up within a week. If you have extra, consider
mixing in sawdust to make urushi putty that can be
used to repair vessels that tend to stain easily.

26
Make the mugi-urushi

Place a flour and an approxi-
1 mately nickel-sized amount of
water onto the glass sheet. Slowly
add water to the flour and knead.
Knead until the mixture can be
2 formed into a ball.
Once the dough has been
3 kneaded, enclose it with plastic
wrap and leave at room tempera-
ture for about 30 minutes. Clean
the glass sheet.

TIP Knead until very stretchy

Unwrap the flour dough and
4 flatten it onto the glass sheet.
Pour out a dollop of ki-urushi
next to the dough.
Start by adding half of the
5 ki-urushi to the dough. Be aware
that adding too much urushi
makes the mixture slippery and
difficult to handle.
Knead firmly to activate the
6 gluten, which makes the dough
stretchy. If there is not enough
elasticity, add more ki-urushi
and continue kneading.

Helpful Pointers

Having Two Heras to Create

the Urushi Mixtures is Handy
When making mugi-urushi or sabi-urushi,
the mixtures stick to the hera and can pre-
vent thorough blending. Using two heras
will allow you to better scrape and combine
the materials.

27
 Lesson Get to Know Urushi
13 Understanding the Properties and
Value of Urushi
Urushi Transforms when Placed in Controlled Humidity and Temperature
Urushi is cultivated from the sap of the Urushiol
tree and is a one-of-a-kind, 100% natural raw
lacquer that can be used as paint and glue.
Depending on the country or region of origin,
the components of the raw lacquer may differ.
In Japan, China and Korea, urushiol is the most
common type of tree harvested, and the Japanese
urushi is considered the best. However, over 98%
of the urushi used in Japan is imported from
China and less than 2% is native Japanese urushi.
(nowadays, however, the younger generation
in the Japanese lacquer industry is resurrecting
abandoned areas of urushi production).
About urushi rash
Most people develop a rash when the urushi touches
the skin. Although there are some people who have no
reaction to urushi, it’s a good idea to always wear rubber
gloves when handling urushi, especially for beginners.
Areas with thicker skin like your palm will not typically
break out in a rash, but other more sensitive parts of your
hands may be affected. Prevention is key, and consider
28
Photo credit:
Akita — Kawatsura Paint:
Jiro Kotobuki [not sure about
this name] —Fumiyuki Sato
Once an urushiol tree has been planted, it takes
approximately 10 years of growth before the urushi
sap can be collected. Each tree yields only 200ml
(about 7 ounces) or so of sap, and its scarcity
has generated nicknames like “urushi tears” and
“urushi blood." Let’s be conscientious and mindful
of how we use this precious natural resource.
Kintsugi involves a process of “curing” the
urushi, and this entails placing the urushi-coated
vessel in an environment of controlled temperature
and humidity. The temperature will need to be over
78°F/20°C and the humidity level between 70-80%.
Take the time to get to know the properties of
urushi as you practice kintsugi.
covering your arms in addition to wearing gloves.
Should urushi accidentally touch your skin, use
cooking oil to immediately wipe it off. Once the urushi
has been removed with oil, cleanse the area with soap
and water. If the skin starts itching or if a rash develops,
please consult a medical professional.
 PART 2

Repairing Small Fragments

 Lesson Chipped Pottery (Part 1) Oribe-Style Glazed Small Bowl

14 How to Carefully Repair Small Chips

Along the Rim of the Bowl

Assess the Damage

The lip of a bowl often chips when it is stacked Repairing small chips is an ideal starting point
with other bowls. First, assess the damage (how for the novice kintsugi practitioner. Follow the
big is the chip, is it an area that will get dirty, etc.), step-by-step instructions to gain the confidence to
then repair it with sabi-urushi. restore a valued vessel.
Each time the hardened lacquer is shaved, apply
diluted ki-urushi to the spot with a tissue. This is
a critical step in the basic process, so be sure to
master the technique.

30
 The flow of LESSON Approximately 2 weeks to complete repairs

Prepare for sabi-tsuke, the application of sabi-urushi

Sabi-tsuke: apply sabi-urushi to chipped sections (filling)
Sabi-kezuri ~ sabi-tsuke (shave and apply sabi-urushi) Outside 2-3 Days
Repeat until the chips are filled
Kuroroiro-urushi base coat glass-specific Muro 30 Minutes Outside 1-2 Days
urushi ~ nakanuri (middle coat)
Paint the e-urushi coat for funmaki, Outside 15-60 Minutes
the powder sprinkling
Funmaki: Sprinkle gold marufun Muro 1-2 Days
#5 and #3
Fungatame: Hardening the powder (ki-urushi) Muro 2-3 Days

Sanding and polishing

Outside = Outside of the muro Muro = Place in the muro

UP
CLOSE

before

Bowl DATE

Name: Oribe-style glazed small bowl

Base material: Pottery
Glaze condition: Glaze is intact and smooth
Size: 3⅛˝ (8cm) x 3½˝ (9cm)
Opening: 2˝ (5cm) height
Damage: Two small chips

31
STEP ❶
Prepare for sabi-tsuke, the application of sabi-urushi

Assemble the chipped bowl, Soak a wipe with benzene. (Wipes Thoroughly wipe the chipped
1 glass sheet and hera. Wear gloves. 2 work better since they don’t pro- 3 section, glass sheet and hera
duce fuzz the way tissue does.) with benzene.

TIP Only a little lacquer is needed

Pour enough sabi-urushi for the Make sure not to apply too much sabi-urushi in one go. As shown
4 repair onto the glass sheet. Cover 5 in the photo, scoop a small amount of sabi-urushi onto the hera
with the hera to minimize air to slowly fill each individual chipped section.
exposure.

Helpful Pointers

Try a variety of tools to apply

sabi-urushi
For mending small chips, an appropriately
small filling tool is helpful. Explore assorted
tools to use as heras such as wooden skewers,
toothpicks, and popsicle sticks.

32
STEP ❷
Prepare for sabi-tsuke: the application of sabi-urushi to the chipped
sections (filling)

Use a small hera and a little bit Clean the hera, then horizontally spread the applied urushi from
6 of sabi-urushi and begin filling 7 left to right. The hera can be made of metal, plastic or bamboo.
the chipped area by rubbing in
the urushi.

Using a cotton swab, adjust the Continue shaping the urushi towards the chipped section. If you
8 urushi that has spilled out of 9 were able to fill the chip without spillage using the hera, there is
the chipped area. no need to use the cotton swab.

TIP Wait 2 to 3 days before placing in the muro

Outside
2-3 Days

If you need to use a cotton swab to adjust the filling, The first application of sabi-tsuke is complete. Place
10 do it immediately after applying the sabi-urushi. The 11 the bowl in a well-ventilated area for 2 to 3 days.
urushi will start to seep into the cotton swab and if
you wait too long, the filling will fall apart when you
try to reshape it.

33
STEP ❸
Sabi-kezuri ~ sabi-tsuke (shave and apply the sabi-urushi)

Once the sabi-urushi has hardened, any excess urushi will need to be Lay the blade horizontally and
12 shaved with a craft knife. Make sure to move the blade away from you 13 shave a little at a time. Be careful
as you shave the top edge. Shave thin layers of the sabi-urushi. Once not to remove the glaze.
the filling is smooth, shave off any other excess urushi.

Muro Outside
30 Mins 2-3 Days

Dilute ki-urushi with an equal
14 amount of kerosene and apply
to the filled area. This strength-
ens the filling and improves
adhesion of the next layer of
sabi-urushi. Remove any excess
diluted ki-urushi with tissue.
The second sabi-tsuke. Determine the final shape of the fill-
15 16 ing during the second phase of shav-
ing. Split open a tokusa and immerse
in water. After the second shaving,
rub the area with the water-infused
tokusa to sand it down. Tokusa is a
gentle abrasive insert period.

TIP Gently sand with tokusa

Outside Muro
2-3 Days 1-2 Days

To deal with any remaining unevenness, apply another The third shaving. Once you’ve chiseled the area gently
17 layer of sabi-urushi. The filling is nearly complete so 18 sand again. Then apply the diluted ki-urushi. Repeat this
only apply the sabi-urushi where needed. process as often as needed to fully fill the chipped areas.

34
STEP ❹
Kuroroiro-urushi base coat glass-specific urushi ~ nakanuri
TIP Indicate the painted sections with masking tape
on the exterior of the vessel to prevent touching
the urushi base coat (glass-specific urushi).

Muro Outside
30 Mins 1-2 Days

Once the sabi-urushi filling is complete, apply a kuro- When the base coat glass-specific urushi is complete,
19 roiro-urushi base coat glass-specific urushi. Kuro- 20 turn the vessel upside down. Place in the muro for
roiro-urushi has excellent coverage. Apply a thin layer about 30 minutes, then take it out and allow the kuro-
since thick layers will cause the urushi to shrink. roiro-urushi to fully cure.

Muro Outside
30 Mins 1-2 Days

Lightly sand with a piece of microfinishing film Paint the nakanuri (the middle layer) with kuroroiro-
21 (superfine) wrapped around an eraser. Press the area 22 urushi. At this point the repair is complete. If your aim
with a cloth after sanding to remove any residue. is for the black lacquer look, the vessel is done.

Helpful Pointers
N O
Shaving sabi-urushi
Do not start shaving from the outer edge.
This will cause the entire filling to fall out
and you will need to start over with the
sabi-urushi filling process. Or you could
try to reattach the filling piece with the
mugi-urushi glue. Select the fix that would
be most appropriate for the situation.

35
STEP ❺
Paint the e-urushi coat for funmaki, the powder sprinkling ~ sprinkle
the powder

Sand the painted surface with Wipe with benzene. To enable the gold powder to
23 the microfinishing film (super- 24 25 adhere, paint a coat of e-uru-
fine). shi. Strain any impurities in the
e-urushi with miyoshino paper.

TIP Paint a thin layer

with a thin flat brush

Outside
15-60 Mins

Paint the e-urushi with a thin flat brush. A thick The e-urushi coat is complete here. Place in a dust-
26 layer will cause the surface of the urushi to shrink, 27 free area for 15 minutes to an hour until the e-urushi
which you want to avoid. is in the ideal state for sprinkling the gold powder.

Muro
1-2 Days

Pour the gold powder (marufun
28 #5) into the fundzutsu and start
sprinkling onto the painted sur-
face before the e-urushi dries.
Gently gather the gold powder
29 onto the e-urushi section with
the harai kebo, then sweep off
any loose powder. Keep the loose
marufun #5 together in a pile.
Follow up with the finer gold
30 powder (marufun #3) and use the
harai kebo to embed the powder
into the surface. You should now
have a thicker, gleaming layer of
gold powder.

36
STEP ❻
Fungatame: hardening the powder (ki-urushi) ~ sanding and polishing

Muro
2-3 Days

Initiate fungatame 1 or 2 days after Press with a tissue about 3 times, Lightly sand with a piece of micro-
31 sprinkling the powder. Use the tip 32 making sure to apply the clean 33 finishing film (fine). Take care
of a brush to soak in the ki-urushi part of the tissue each time until not to damage the gold powder
onto and between the gold powder. no urushi is soaked up. layer.

Use the taiki to gently polish the
34 surface some more. Alternative-
ly, use amor for the polishing
step.
Apply a thin layer of cooking oil to Complete. Wait about 2 weeks
35 the repaired area, then add a little 36 before using the repaired vessel.
bit of migakiko (powder abrasive)
and polish. Keep polishing with
the tissue to a high shine.

Helpful Pointers

Sample urushi finishes

Paint gold powder, silver powder and e-uru-
shi onto glass slides. These will help deter-
mine which decorative urushi finish would
best complement the vessel. Think of them
as paint chips for kintsugi.

37
 Lesson Chipped Pottery (Part 2) Soto-Yakishime Bowl

15 Protect Unglazed Vessels with

Masking Tape

Use masking tape to prevent urushi from accidentally staining

unwanted areas
Ceramic and porcelain plates and cups are typically
glazed. The extremely high temperatures during
firing melts the glaze and forms a thin glass layer on
the vessel surface. The glazing adds durability and
protects the vessel from water damage and staining
from foodstuffs and other elements. Tape to prevent
urushi from accidentally staining unwanted areas.
When repairing vessels with the kintsugi
method, be aware that when cooking oil is not
applied to the surface, the urushi will seep in and
removal will be difficult. Adding masking tape
ensures an extra measure of protection to keep
the urushi contained in the mending area.

38
 The flow of LESSON Approximately 2 weeks to complete repairs

Apply Sabi-urushi after adding masking tape (filling)

Sabi-kezuri and Sabi-tsuke Outside 2-3 Days
(Shave and apply sabi-urushi)
Kuroroiro-urushi base coat glass-specific Muro 30 Minutes Outside 1-2 Days
urushi ~ nakanuri

Paint the base coat glass-specific urushi Outside 15-60 Minutes

(kuroiroro-urushi + ki-urushi) for the
funmaki (sprinkling of gold powder)
Funmaki: Sprinkle silver keshifun
Outside 1 Day Muro 3-4 Days
with mawata

Outside = Outside of the muro Muro = Place in the muro

UP
CLOSE

before

Bowl DATE

Name: Soto-Yakishime bowl

Base material: Pottery
Glaze condition: The interior has a matte
glaze; the black slip exterior is unglazed
Size: 6⅛˝ (15.5cm)
Opening: 3˝ (7.5cm) height
Damage: A slightly bigger chip (1 spot)

39
STEP ❶
Apply sabi-urushi after adding masking tape (filling)

Wipe the mending area with benzene, then cover the sections outside Masking is complete. No need
1 of the mending area with masking tape. This prevents the urushi from 2 to mask the inside of the bowl,
staining the unglazed parts of the bowl. which is glazed.

TIP Mix in a little tonoko

To create the filling, add a little bit of tonoko to the sabi-urushi. The tonoko increases the
3 adhesion of the filling, which is helpful when the chips are larger or if the rim of the bowl is
thin and easily chipped. If you do not have tonoko on hand, using just the sabi-urushi is fine.
Make sure to repeatedly harden the sabi-urushi with diluted ki-urushi.

Outside
2-3 Days

Fill the chipped area with sabi-urushi. Slowly build up thin layers of Gently press with a cotton swab
4 the urushi. Thickly applying the sabi-urushi will prevent the inside 5 to shape the sabi-urushi filling
from fully hardening and the internal urushi may leak out. edge. The first sabi-tsuke is com-
plete. Place in a well-ventilated
area for 2 to 3 days.

40
STEP ❷
Sabi-kezuri ~ sabi-tsuke (shave and apply sabi-urushi)

When the filling has fully
6 hardened, shave to fine-tune the
shape. Move the blade from the
inside of the filling outward, a
little at a time.
After shaving the filling, soak with diluted ki-urushi and press with
7 a tissue. Place in the muro for about 30 minutes and proceed with
the second sabi-tsuke. Because the rim of the bowl is very thin, take
care when forming the filling edge. Start by adding more filling on the
inside of the bowl, then press down any filling that spills on the exterior
side of the bowl. Shape the filling to match the rim of the bowl.

TIP Add the finishing touch

Outside Muro Outside

2-3 Days 30 Mins 2-3 Days

Replace the masking tape after
8 applying the sabi-urushi. Be
careful not to remove the filling
along with the tape.
The second sabi-kezuri. Due to
9 the thinness of the bowl’s rim, use
a waterproof sandpaper (600 grit)
on just the urushi section. Soak
with diluted ki-urushi.
Fill in the small bumps with more
10 sabi-urushi. Sand the hardened
filling with waterproof sandpaper
and soak with diluted ki-urushi.
Place in the muro for a day.

Helpful Pointers

Use waterproof sandpaper to gently

sand the filling and avoid staining
the other parts of the vessel
For bowls with a thin rim, using a blade will
break off the filling during the sabi-kezuri
phase. Because the bowl is unglazed and
the mending area is delicate, the vigorous
sanding required makes tokusa unsuitable.
For all these reasons, waterproof sandpaper
works best.

41
STEP ❸
Kuroroiro-urushi base coat glass-specific urushi ~ nakanuri

Muro Outside
30 Mins 1-2 Days

Paint a thin base coat glass- Wrap a piece of microfinishing Apply the nakanuri layer with
11 specific urushi of kuroroiro- 12 film (superfine) on an eraser and 13 kuroroiro-urushi. Use a thin
urushi, making sure to avoid lightly sand. brush to outline the filling shape.
the unglazed exterior.

Muro Outside
30 Mins 1-2 Days

Use a flat brush to pull the painted outline inward Sand and smooth out the surface with microfinish-
14 to fill in the shape. Once the kuroroiro-urushi has 15 ing film (superfine).
hardened, the repair is complete.

Keep the paint layers

TIP
as thin as possible

Outside
15-60 Mins

Mix the kuroroiro-urushi and ki-urishi, strain and load a brush. Use a thin brush to outline the
16 shape, then fill in the shape with a flat brush. Make sure to form thin layers. Then place in a
dust-free area for 15 minutes to an hour, checking for the ideal urushi state to sprinkle the silver
powder (during the hot summer months, 15 minutes should be enough).

42
STEP ❹
Funmaki: Sprinkle silver keshifun with mawata

Gently sprinkle the silver powder (keshifun) with a Barely touch the mawata to the surface as you sprinkle
17 mawata. 18 the powder.

Outside Muro
1 Day 3-4 Days

Rotate the mawata to gently polish and set the silver Complete. Wait one day before placing in the muro.
19 powder. The mawata will easily snag on unglazed or 20 Then place the vessel in the muro for 3 to 4 days
bumpy surfaces, so compress the mawata into a small to fully cure the urushi. Please wait about 2 weeks
ball as you sprinkle the powder. before using the mended vessel.

Helpful Pointers

Silver powder contrasts nicely

against black urushi
The effect of the gold and silver powder will
vary depending on the color of the underly-
ing urushi. Gold is especially vibrant against
the reddish e-urushi. Black urushi showcas-
es the luster of silver. Adding ki-urushi to
kuroroiro-urushi strengthens the lacquer
(use a 1:1 ratio).

43
Another random document with
no related content on Scribd:
"Most certainly I would. Edmund himself is dead, you know; so there is no
brother of my husband's left."

Just then the servants came trooping in as usual to prayers, and the
conversation was not resumed. But what I had heard set me thinking of things
belonging to that far-away past that my father spoke of, and of the
circumstances which made Aunt Milly's husband owner of Denesfield.

He—William Dene—was the younger of two brothers. Their father had run
through his inheritance, and left his children almost beggars. There were but
the two—Edmund and William. William was adopted by his uncle, a
successful merchant, who had been winning great wealth while his brother
had squandered his own.

The merchant bought back the old home, rebuilt the house, added to the
estates, and passing over his elder nephew, left everything except a few
thousand pounds to William Dene, Aunt Milly's husband.

Edmund, disappointed and angry, said bitter things to and of his brother, as
well as of my aunt. So they parted—not kindly, or in a brotherly spirit—and
met no more on earth. William died abroad, and Aunt Milly inherited all his
wealth; and now it seemed as though a wall were built up between Denesfield
and the much humbler home where Edmund's widow strove to make her little
income suffice to bring up her three boys, and educate them to make their
way in the world.

As I thought about this wall of ill-feeling and division, I could not help hoping
that my dear father would somehow contrive to break it down. I had so often
seen him in the character of peacemaker, that I could scarcely imagine his
failing if he once took the matter fairly in hand.

CHAPTER V
AN EARNEST TALK
I AM not going to tell all about our doings that happy Christmastide. All I can
say is, that I hope every one who listens to my story may spend this Christmas
as happily as we spent ours that year. Aunt Milly duly wore the famous
diamonds, and we girls as duly admired them, and wondered at their beauty.

My mother made the remark that they must have cost a fortune, and Aunt
Milly said, "Yes, they did;" and laughingly added:

"They are to be part of Mildred's. She is my namesake and godchild, and

years hence, when your girls, perhaps, have children and homes of their own,
Mildred will be mistress here, and the youngsters will talk about another 'Aunt
Milly' and her diamonds."

My mother exclaimed, "Hush, dear Milly! Please do not put such a thought into
the girl's head. I should never like to think of Mildred filling your place at
Denesfield."

"Not while I live, Ellen, of course. Now she is as a daughter to me. You can
hardly think how much happiness she has brought to a lonely woman. You
must give Mildred to me. She must be my child, without ceasing to be yours;
and if she fills the position of daughter here, what would there be unnatural in
her stepping into my place?"

"You are very good to her, Milly," said my mother; "but while I shall be only too
glad for her to be all you wish, neither her father nor I would like you to carry
out your present design. Stephen is not anxious that his children should have
great wealth. We have enough to provide for them in the station of life they are
accustomed to—a very happy state, as they all feel."

"Then would you have me find some stranger to bestow my wealth upon,
Ellen?"

"Certainly not, Milly. If you like, I will tell you what Stephen says you ought to
do with it."

"What, Ellen?"

My aunt asked the question; but I feel certain she knew what the answer
would be, for that quick flush rose to her cheek, and her manner was excited.

"You will not be vexed at me, dear Milly, if I tell you. Stephen says that
Edmund Dene's children are the only fitting heirs of Denesfield. He does not,
for an instant, deny your perfect right to dispose of the property which is your
own, as much as wealth can be, by any human law. We neither of us believe
you will ever marry again, therefore the responsibility of disposing of this
wealth rests upon you. But after all, dear, we are but stewards in God's sight,
and this wealth is one of the talents to be accounted for."

"I am striving to use it rightly, Ellen," replied my aunt gently; "and I am thankful
for advice and guidance."

"Yes, dear; and while you hold it, I shall have no fear that it will not be turned
to good account."

"Yes; but I often fear for myself. I feel that I have years of indolence and
neglect to regret—all that long time when I neither used the money nor gave it
to those who needed it. Still, if, when I no longer want the wealth, I may not
leave it to the friends I really love, but to people I have only known as
enemies, my stewardship would be a burden, indeed."

"I would not say enemies, Milly. Edmund Dene, being the elder brother,
thought it very hard when all the riches of his uncle, as well as the old estates,
went to your husband. He had no claim to anything; but the disappointment
must have been hard to bear. Think, dear Milly, had you been in his place,
would you have said no sharp word—had no envious feeling?"

"It was a hard thing to bear, no doubt of that," returned Aunt Milly frankly.

"And now," resumed mamma, "the young Denes are growing up; the eldest,
William, is about twenty, I believe. Stephen has heard a good deal about him
from an old college friend, and he says what a fine young fellow he is, how
hard he is working, denying himself every indulgence that he may not be a
burden to his mother, and earning money by private teaching even while a
student himself. I have told you all these things, Milly, because I want you to
think of them. And, in this blessed season of peace and goodwill, remember
your husband's kindred. Forget all past differences. Love and forgive, even as
God, for Christ's sake, loves and pardons."

The tears were in my dear mother's eyes as she thus pleaded so eloquently;
and as she ended she heard a quick sob, and saw that Aunt Milly's eyes too
were wet. Then after a short silence, my aunt said:

"Ellen, you have done right to speak boldly and frankly. I will think over this
conversation, and I will pray to be guided aright."
Then, with that little impetuous way of hers, she drew her hand across her
eyes, and with a smile, exclaimed, "Say what you like, I will not go back from
my resolution in one thing. No person but my niece and adopted child, Mildred
Corsor, shall ever own Aunt Milly's diamonds."

My mother was contented with the answer; and having been allowed to speak
so freely to her sister about a subject which she was at first half afraid to
mention, she would not attempt to combat this last sentence. This
conversation took place in my aunt's room, at the close of that happy
Christmas Day, when the guests had departed and the sisters were lingering
over the fire, as if unwilling to say the final good-night.

During the rest of the time that my father and mother stayed at Denesfield, no
further mention was made of Edmund Dene's widow and children.

CHAPTER VI
AN UNEXPECTED VISITOR

IT was a happy season to all of us. At the end of three weeks my parents
returned home; a fortnight later the girls followed, laden with gifts, and full of
delightful memories of their stay under my aunt's roof. They had the promise,
too, that when their holidays should come round again, they might reckon on
spending them—if not at Denesfield, in some place of summer resort with
Aunt Milly and me.

A few more weeks passed, and for the first time since I came to live with her,
my aunt had some secret from me. She wrote letters and received answers,
without telling me a word about the matter. In all else she was, if possible,
more tender and kind than ever; so I comforted myself with the thought that
she was not displeased, and that she had a perfect right to use her own
judgment about trusting a girl like me.
One morning, about a week before Easter, I was sitting preparing an Italian
lesson to read with my aunt, who knew the language well, when a gentleman
was shown into the room. As raised my head I could not help thinking I had
seen him before; but I could neither remember when or where.

He had scarcely time to speak, when the servant came back, and said:

"Please to step into the library, sir. Mrs. Dene will be glad to see you there."

It was no uncommon thing for my aunt to receive such visits. Many a young
man, whose path in life was made smoother through her kind help or effort,
came with a full heart to thank her.

But nearly an hour passed, and still the visitor was in the library with my aunt.
My task was done, and I had laid my books down, and now stood looking out
of the window at the trees just beginning to break out into bud, and thinking to
myself how lovely the place would be in the green glory of spring.

All at once came again the memory of that visitor's face, and a new idea
flashed across my mind. I ran out of the room and into the picture gallery,
where hung a very fine full-length portrait of Aunt Milly's husband, taken when
he was just of age.

I saw the likeness at once. It might have been that of the young man whose
face had struck me some little while before as so familiar. I stood for a few
moments, and then exclaimed aloud:

"How like he is to the picture! He must be a Dene!"

"You have guessed rightly, Mildred," said Aunt Milly's voice. "This is my dear
husband's nephew and namesake, William Dene. And this girl, William, who
recognised a sort of kinsman in you, is the child of my only sister. She is my
namesake, too, and adopted daughter, Mildred Corsor."

In my haste and anxiety to look at the portrait, I had not noticed Aunt Milly and
her companion, who were entering the gallery by a door which led to it from
the library.

I was quite confused for a few moments; but dear Aunt Milly soon made me
feel at ease again. I shook hands with William Dene, and told him most
heartily how glad I was to see him. I knew what pleasure it would give my dear
father and mother, for mamma had told me of her conversation with my aunt
on Christmas night, and what she hoped might be the result of it.
"You know my secret, now," said Aunt Milly, "or at least you can guess who
was my mysterious correspondent. Here he stands, Mildred. And now, to
make amends for my seeming want of trust, you shall write to your father and
mother and tell them that I have taken their advice. I hope, for the future, only
peace and goodwill may be known amongst us Denes."

CHAPTER VII
A PLEASANT ENDING

MY task was a very pleasant one. I had to tell my parents that Aunt Milly,
acting on their advice, had made many inquiries respecting her late husband's
nephews; and that all she had heard confirmed my father's account, especially
of William, who, everybody said, was a kinsman to be proud of.

So then Aunt Milly had written to him, just in her own brave, frank way,
alluding to past differences between the elder people only so far as was
needful, and expressing her hope that they would agree with her in forgetting
them, and beginning a new life of friendship.

When my father and mother heard this they were delighted.

"Time will do the rest," exclaimed papa. "All will work right now, and there will
soon be no question about the inheritance of Denesfield. Aunt Milly will find a
son in William Dene."

And so, in the end, it proved. William's mother and brothers also came to visit
my aunt. The widowed mother had no longer to pinch and contrive for the
education of her children, for Aunt Milly did nothing by halves. She at once
made an ample provision for her sister-in-law and the younger boys, but
"William," she said, "I must look after myself. He is so like what my dear
husband was when I first knew him."
I think that year was one of the happiest I ever spent during my early life.
Every day that William Dene was with us, we saw more and more of the truth
and goodness of his character. By degrees, Aunt Milly learned to consult and
trust him just as a mother does a beloved son. How proud, too, she was of his
college honours! Indeed, I doubt whether his own mother, who was of a very
quiet, placid disposition, thought as much of her son's well-won place as did
Aunt Milly.

One day, during the long vacation, my aunt said to him, "William, when will
your birthday be?"

"Did I never tell you, aunt?" said he. "I am a Christmas child. I was born on the
twenty-fifth of December."

"And you will be of age next Christmas?"

"Yes, aunt; and I come into my whole inheritance at once. A pair of long legs
that can get over as much ground as most, a pair of strong hands, and a head
which I have done my best to furnish. These are my capital and stock to trade
with, and I hope they will bring me a fair return."

"Not to be despised, William: good health, good education, and the will to use
them in a right way, are things to thank God for with all one's heart."

"I feel that, dear aunt; and there is another blessing I have to thank you for—
an easy mind. You have removed the anxieties I used to have about my
mother and the boys by your generous kindness to them."

My aunt put her hand to his lips to hinder the further expression of thanks.

"Do not speak of that, William," she replied. "It reminds me that I might have
saved you all these years of suffering and anxiety if I had only thought less of
myself and more of others. Now about your birthday. Our Christmas this year,
please God, will be a double festival. We shall gather all your people, William,
and all mine, and we will have our friends and neighbours, rich and poor, to
rejoice with us."

When Christmas Day did come, it was such a one as I shall never forget. The
old church at Denesfield was full to overflowing; and there was one special
prayer offered for him who that day attained to man's estate, that the blessing
of God would rest upon him—that indeed he might be blessed and made a
blessing to those amongst whom he would, in course of time, be called to
dwell.
Those who heard that prayer guessed rightly that my Aunt Milly was asking
the prayers of the congregation for him who was, after her, to be the master of
Denesfield. I believe every lip and heart echoed the prayer, for all the people
were learning to know and love William Dene, and they rejoiced that one of
the "old stock" would be heir to Denesfield.

My father and mother rejoiced with all their hearts. They never desired the
inheritance for their children; and when Aunt Milly took the course they always
hoped she might be led to take, with regard to her husband's relatives, they
were greatly pleased.

There was one thing which excited my surprise, and that was their anxiety that
my aunt should arrange all her affairs and make William Dene's inheritance
certain. I did not know that dear Aunt Milly was even then suffering from a
disease which left no hope of long life, and that, when she talked to me of her
heavenly treasures, she was expecting ere long to enter upon her eternal
inheritance.

I was only twenty when Aunt Milly died, rejoicing in her sure and certain hope;
her one regret being for those who so tenderly loved and would so sadly
mourn for her and miss her.

She left Denesfield to William; and left legacies to the rest of his family, to my
sisters, and myself. In addition, she gave me the famous diamonds, as she
had always declared she would do; but she made one condition—that, should
I desire it, William Dene should pay me the sum of ten thousand pounds
instead of the most important ornaments.

My father had experienced some losses a little time before, of which he would
not let Aunt Milly know anything; but now I was glad that by leaving the
diamonds for the future mistress of Denesfield, I could far more than replace
the money. So I wrote and told William Dene that the articles named by my
aunt were fit for a lady holding a different position from that of a country
clergyman's daughter, and that I would only keep those which she expressly
wished me to retain.

The money was duly paid to me; and in handing it to my parents for their use,
I was happier than I could have been in possessing the most gorgeous jewels.
The old lady, who had been listened to with the greatest attention by the
youngsters round her, here paused for a moment, and a thoughtful-looking lad
raised his face, and said:

"Grandmamma, I think I can finish the story."

She smiled gently, and replied, "Go on, Will; and if you are wrong, I will correct
you."

"In the first place, then, you got your Aunt Milly's diamonds after all; and you
were, and you are, mistress of Denesfield Manor. Grandpapa's name is
William Dene, and I am called after him."

"Quite right, dear Will. A year after Aunt Milly's death, William Dene brought
me here as his wife, and gave me back my home and Aunt Milly's diamonds. I
have had such a happy married life as wives have who can honour their
husbands and see in them disciples of the Saviour. We have been spared to
see our children grow up, and come in their turn bringing their boys and girls
to keep Christmas at Denesfield. God grant to us and all a happy one this
year!"

"But," said a little girl, "were you not very glad and proud when you got the
diamonds after all?"

"I was glad, dear; but not so glad as I should once have been; for I had, in the
meantime, found a more precious jewel. I wear Aunt Milly's diamonds still on
Christmas Day, for Grandpapa will have it so; but I have the better jewel
always about me—'the Pearl of great price.' That means very much the same
thing as Aunt Milly's heavenly treasure.

"And now we must go and listen, for I hear children's voices ringing through
the air, and I catch the words of the old carol:

"Hark! The herald angels sing

Glory to the new-born King:
Peace on earth, and mercy mild,
God and sinners reconciled."
Printed in Great Britain by MORRISON & GIBB LIMITED. Edinburgh
*** END OF THE PROJECT GUTENBERG EBOOK AUNT MILLY'S
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