On the left of the doorway is invariably a fixed wooden platform, eighteen inches high, and covered with a single mat, which is the sleeping-place. The pillows are small stiff bolsters, covered with ornamental matting. If the family be large there are several of these sleeping platforms. A pole runs horizontally at a fitting distance above the outside edge of each, over which mats are thrown to conceal the sleepers from the rest of the room. The inside half of these mats is plain, but the outside, which is seen from the room, has a diamond pattern woven into it in dull reds and browns. The whole floor is covered with a very coarse reed-mat, with interstices half an inch wide. The fireplace, which is six feet long, is oblong. Above it, on a very black and elaborate framework, hangs a very black and shiny mat, whose superfluous soot forms the basis of the stain used in tattooing, and whose apparent purpose is to prevent the smoke ascending, and to diffuse it equally throughout the room. From this framework depends the great cooking-pot, which plays a most important part in Aino economy.
Household gods form an essential part of the furnishing of every house. In this one, at the left of the entrance, there are ten white wands, with shavings depending from the upper end, stuck in the wall; another projects from the window which faces the sunrise, and the great god—a white post, two feet high, with spirals of shavings depending from the top—is always planted in the floor, near the wall, on the left side, opposite the fire, between the platform bed of the householder and the low, broad shelf placed invariably on the same side, and which is a singular feature of all Aino houses, coast and mountain, down to the poorest, containing, as it does, Japanese curios, many of them very valuable objects of antique art, though much destroyed by damp and dust. They are true curiosities in the dwellings of these northern aborigines, and look almost solemn ranged against the wall. In this house there are twenty-four lacquered urns, or tea-chests, or seats, each standing two feet high on four small legs, shod with engraved or filigree brass. Behind these are eight lacquered tubs, and a number of bowls and lacquer trays, and above are spears with inlaid handles, and fine Kaga and Awata bowls. The lacquer is good, and several of the urns have _daimiyô’s_ crests in gold upon them. One urn and a large covered bowl are beautifully inlaid with Venus’ ear. The great urns are to be seen in every house, and in addition there are suits of inlaid armour, and swords with inlaid hilts, engraved blades, and _répoussé_ scabbards, for which a collector would give almost anything. No offers, however liberal, can tempt them to sell any of these antique possessions. “They were presents,” they say in their low, musical voices; “they were presents from those who were kind to our fathers; no, we cannot sell them; they were presents.” And so gold lacquer, and pearl inlaying, and gold niello-work, and _daimiyô’s_ crests in gold, continue to gleam in the smoky darkness of their huts. Some of these things were doubtless gifts to their fathers when they went to pay tribute to the representative of the Shôgun and the Prince of Matsumæ, soon after the conquest of Yezo. Others were probably gifts from _samurai_, who took refuge here during the rebellion, and some must have been obtained by barter. They are the one possession which they will not barter for _saké_, and are only parted with in payment of fines at the command of a chief, or as the dower of a girl.