Of convention form, raised on an integral scalloped base, the exterior inset with five-lobed silver and gold edged panels, each framing a different scene, elaborately decorated all over in gold, silver and polychrome takamaki-e, hiramaki-e, e-nashiji and kirikane, the top depicting the classic scene of Rosei (in Chinese Lu Sheng), reclining upon a low bed, his face visible through the tanslucent shell fan with which he shades himself, to the top right his grandiose dream of wealth and rank delicately lacquered in yamimaki-e with attendants carrying the Emperor resting in his palaquin, the front depicting a disparate group of travellers in a ferryboat, the left side with Kanzan and Jittoku extolling the contents of a long unfurled scroll, the right with a father and son on Boys' Day watching an itinerant entertainer performing in front of a banner painted with Shoki, the reverse showing stags grazing beside young pine saplings on a moonlit evening, the hinged double-doors opening to reveal a continuous scene embellished in predominantly gold takamaki-e with an idealised pananorama of pagodas, thatched dwellings and shrines nestled among pine-clad undulating hills and possibly the Uji Brige spanning the river, the design extending within to the six drawers decreasing in height towards the top, each drawer fitted with a metal knop, the sides applied with a shakudo ring handle, the front applied with silvered-metal mounts chased with karakusa ('Chinese grasses'), the inside of each drawer lined in purple silk and divided into three compartments for the storage of inro, unsigned; with a wood storage box. (2).