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e。 Then he will bend low and creep into the room through a small door not more than three feet in height。 This proceeding was incumbent on all guests；high and low alike；and was intended to inculcate humility。 The order of precedence having been mutually agreed upon while resting in the machiai； the guests one by one will enter noiselessly and take their seats； first making obeisance to the picture or flower arrangement on the tokonoma。 The host will not enter the room until all the guests have seated themselves and quiet reigns with nothing to break the silence save the note of the boiling water in the iron kettle。 The kettle sings well； for pieces of iron are so arranged in the bottom as to produce a peculiar melody in which one may hear the echoes of a cataract muffled by clouds； of a distant sea breaking among the rocks； a rainstorm sweeping through a bamboo forest； or of the soughing of pines on some faraway hill。
Even in the daytime the light in the room is subdued； for the low eaves of the slanting roof admit but few of the sun's rays。 Everything is sober in tint from the ceiling to the floor； the guests themselves have carefully chosen garments of unobtrusive colors。 The mellowness of age is over all； everything suggestive of recent acquirement being tabooed save only the one note of contrast furnished by the bamboo dipper and the linen napkin； both immaculately white and new。 However faded the tea…room and the tea…equipage may seem； everything is absolutely clean。 Not a particle of dust will be found in the darkest corner； for if any exists the host is not a tea…master。 One of the first requisites of a tea…master is the knowledge of how to sweep； clean； and wash； for there is an art in cleaning and dusting。 A piece of antique metal work must not be attacked with the unscrupulous zeal of the Dutch housewife。 Dripping water from a flower vase need not be wiped away； for it may be suggestive of dew and coolness。
In this connection there is a story of Rikiu which well illustrates the ideas of cleanliness entertained by the tea…masters。 Rikiu was watching his son Shoan as he swept and watered the garden path。 〃Not clean enough；〃 said Rikiu； when Shoan had finished his task； and bade him try again。 After a weary hour the son turned to Rikiu： 〃Father； there is nothing more to be done。 The steps have been washed for the third time； the stone lanterns and the trees are well sprinkled with water； moss and lichens are shining with a fresh verdure； not a twig； not a leaf have I left on the ground。〃 〃Young fool；〃 chided the tea…master； 〃that is not the way a garden path should be swept。〃 Saying this； Rikiu stepped into the garden； shook a tree and scattered over the garden gold and crimson leaves； scraps of the brocade of autumn！ What Rikiu demanded was not cleanliness alone； but the beautiful and the natural also。
The name； Abode of Fancy； implies a structure created to meet some individual artistic requirement。 The tea…room is made for the tea master； not the tea…master for the tea…room。 It is not intended for posterity and is therefore ephemeral。 The idea that everyone should have a house of his own is based on an ancient custom of the Japanese race； Shinto superstition ordaining that every dwelling should be evacuated on the death of its chief occupant。 Perhaps there may have been some unrealized sanitary reason for this practice。 Another early custom was that a newly built house should be provided for each couple that married。 It is on account of such customs that we find the Imperial capitals so frequently removed from one site to another in ancient days。 The rebuilding； every twenty years； of Ise Temple； the supreme shrine of the Sun…Goddess； is an example of one of these ancient rites which still obtain at the present day。 The observance of these customs was only possible with some form of construction as that furnished by our system of wooden architecture； easily pulled down； easily built up。 A more lasting style； employing brick and stone； would have rendered migrations impracticable； as indeed they became when the more stable and massive wooden construction of China was adopted by us after the Nara period。
With the predominance of Zen individualism in the fifteenth century； however； the old idea became imbued with a deeper significance as conceived in connection with the tea…room。 Zennism； with the Buddhist theory of evanescence and its demands for the mastery of spirit over matter； recognized the house only as a temporary refuge for the body。 The body itself was but as a hut in the wilderness； a flimsy shelter made by tying together the grasses that grew around；when these ceased to be bound together they again became resolved into the original waste。 In the tea…room fugitiveness is suggested in the thatched roof； frailty in the slender pillars； lightness in the bamboo support； apparent carelessness in the use of commonplace materials。 The eternal is to be found only in the spirit which； embodied in these simple surroundings； beautifies them with the subtle light of its refinement。
That the tea…room should be built to suit some individual taste is an enforcement of the principle of vitality in art。 Art； to be fully appreciated； must be true to contemporaneous life。 It is not that we should ignore the claims of posterity； but that we should seek to enjoy the present more。 It is not that we should disregard the creations of the past； but that we should try to assimilate them into our consciousness。 Slavish conformity to traditions and formulas fetters the expression of individuality in architecture。 We can but weep over the senseless imitations of European buildings which one beholds in modern Japan。 We marvel why； among the most progressive Western nations； architecture should be so devoid of originality； so replete with repetitions of obsolete styles。 Perhaps we are passing through an age of democritisation in art； while awaiting the rise of some princely master who shall establish a new dynasty。 Would that we loved the ancients more and copied them less！ It has been said that the Greeks were great because they never drew from the antique。
The term； Abode of Vacancy； besides conveying the Taoist theory of the all…containing； involves the conception of a continued need of change in decorative motives。 The tea…room is absolutely empty； except for what may be placed there temporarily to satisfy some aesthetic mood。 Some special art object is brought in for the occasion； and everything else is selected and arranged to enhance the beauty of the principal theme。 One cannot listen to different pieces of music at the same time； a real comprehension of the beautiful being possible only through concentration upon some central motive。 Thus it will be seen that the system of decoration in our tea…rooms is opposed to that which obtains in the West； where the interior of a house is often converted into a museum。 To a Japanese； accustomed to simplicity of ornamentation and frequent change of decorative method； a Western interior permanently filled with a vast array of pictures； statuary； and bric…a…brac gives the impression of mere vulgar display of riches。 It calls for a mighty wealth of appreciation to enjoy the constant sight of even a masterpiece； and limitless indeed must be the capacity for artistic feeling in those who can exist day after day in the midst of such confusion of color and form as is to be often seen in the homes of Europe and America。
The 〃Abode of the Unsymmetrical〃 suggests another phase of our decorative scheme。 The absence of symmetry in Japanese art objects has been often commented on by Western critics。 This； also； is a result of a working out through Zennism of Taoist ideals。 Confucianism； with its deep…seated idea of dualism； and Northern Buddhism with its worship of a trinity； were in no way opposed to the expression of symmetry。 As a matter of fact； if we study the ancient bronzes of China or the religious arts of the Tang dynasty and the Nara period； we shall recognize a constant striving after symmetry。 The decoration of our classical interiors was decidedly regular in its arrangement。 The Taoist and Zen conception of perfection； however； was different。 The dynamic nature of their philosophy laid more stress upon the process through which perfection was sought than upon perfection itself。 True beauty could be discovered only by one who mentally completed the incomplete。 The virility of life and art lay in its possibilities for growth。 In the tea…room it is left for each guest in imagination to complete the total effect in relation to himself。 Since Zennism has become the prevailing mode of thought； the art of the extreme Orient has purposefully avoided the symmetrical as expressing not only completion； but repetition。 Uniformity of design was considered fatal to the freshness of imagination。 Thus； landscapes； birds； and flowers became the favorite subjects for depiction rather than the human figure； the latter being present in the person of the beholder himself。 We are often too much in evidence as it is； and in spite of our vanity even self…regard is apt to become monotonous。
In the tea…room the fear of repetition is a constant presence