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Updated: May 1, 2025
One morning in June, 1589, the space within the main gate of the Juraku palace was seen to be occupied throughout a length of nearly three hundred yards with gold and silver coins heaped up on trays each containing one hundred and fifty pieces. Immediately within the gate sat Hideyoshi, and beside him was the Emperor's younger brother, Prince Roku.
These works were the Osaka Castle, in 1583; a palace for the retiring Emperor Okimachi, in 1586; the palace of Juraku, in 1587; the Kyoto Daibutsu, in 1586, and the Momo-yama Palace, in 1594. What sum these outlays aggregated no attempt has been made to calculate accurately, but the figure must have been immense.
Not only did he bestow munificent allowances on skilled artists and art artisans, but also he conferred on them distinctions which proved stronger incentives than any pecuniary remuneration, and when he built the celebrated mansions of Juraku and Momo-yama, so vast were the sums that he lavished on their decoration, and such a certain passport to his favour did artistic merit confer, that the little town of Fushimi quickly became the art capital of the empire, and many of the most skilful painters, lacquerers, metal-workers, and wood-carvers within the Four Seas congregated there.
Occasionally fits of passion betrayed him to deeds of great violence. Thus, on one occasion he ordered the crucifixion of twenty youths whose sole offence consisted in scribbling on the gate-posts of the Juraku palace. But in cold blood he always showed himself forebearing, and letters written by his own hand to his mother, his wife, and others disclose an affectionate and sympathetic disposition.
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