[Rikyū’s sketch. The writing reads: (above) fukusa (ふくさ); (middle) chaire (茶入); (below, from the right) mizusashi (水さし); futaoki (ふた置)]¹
(1) In this temae the hishaku is brought out [from the katte] together with the koboshi. Then the host removes the door from the bottom² of the fukuro-dana, takes out the chawan³ from within [the ji-fukuro] and temporarily sets on the left side [of the mat]⁴. After the door [of the ji-fukuro] is closed, the chaire is taken down and set on the mat just as has been explained before⁵. Then the chawan is placed beside it.
[Next] the fukusa is suspended on the hip⁶, and then [the host] takes up the futaoki [and places it next to the ro]; and after the hishaku has been rested on top, all bow together, and then [tea] is made.
¹The chawan is enclosed in the ji-fukuro (on the lower left). The door would be closed when the guests entered the room for the go-za. The original arrangement of utensils on the fukuro-dana is like this:
The fukusa is folded into eighths*, the way it is usually folded when put into the futokoro (or into a fukusa-basami) today, so that it opens like a (Japanese) book. The folds should be on the right side and front side.
*Historically, the fukusa has also sometimes been folded like a “love-letter” when placed on the shelf of the fukuro-dana, as below.
It seems that Rikyū preferred the former shape (like a book), while Jōō liked the love-letter shape. Either, therefore, is acceptable. However, the host should thoroughly familiarize himself with whichever shape he chooses to use, so he can open the fukusa into the triangular shape and tuck it into his obi without having to search for the wa-sa. This is critically important.
²From the ji-fukuro. In Rikyū’s version of this tana (which is naturally the one being considered here) the door lifts out completely* and is then leaned against the left side of the tana.
*It is removed in the same way that the door of Rikyū’s tabi-dansu is taken off: the door is lifted upward slightly and the bottom swung free from its track, then lowered to clear the upper track, reheld (like the lid of a mizusashi) and so leaned against the left side of the tana (again, like the lid of a mizusashi) — in a room where the katte is on the left and the guests are seated on the host’s right.
There is a different fukuro-dana made to be used in a reverse-style room (where the katte is on the right and the guests sit on the host’s left) — in this version everything is reversed, so the space for the mizusashi is on the left side, and the ji-fukuro is on the right.
However it is important to note that regardless of orientation (and whether a tana is being used or not), when placed together the chawan is always on the left and the chaire is always on the right. And during the temae, the chawan is always placed so that its foot is on the right side of the central kane, never on the left side.
³In his textual comments, Rikyū has mistakenly written the word chaire: “中ニ茶入有候ヲ取出しかりニ左の方ニ置” [“from within the chaire that is there is taken out and temporarily set on the left side”]. However, since the chaire is shown on the shelf above the ji-fukuro (and since in this kind of arrangement the chaire is always placed directly into its seat on the mat, never temporarily on the left side of the mat — it is placed only the left only in certain temae where it is displayed there from the beginning), and the chawan is what he has drawn on the inside of the ji-fukuro, he clearly means the chawan. It will be rested on the side of the mat so that the door can be closed immediately. Then the chaire will be lowered to the mat and the chawan placed beside it — all of which (the order of moving the chawan first to the side of the mat, then lowering the chaire into its seat, and finally moving the chawan to the left of the chaire) follows from gokushin temae. This is a rule which the reader would do well to commit to memory, since it always holds true.
⁴As always, this would be to the left of his knees (though slightly forward of where it has been put heretofore, since in this case the koboshi has already been brought out and is also sitting on the left side of the mat with the hishaku resting on top: there should be a space of approximately 2-sun between the hishaku's cup and the chawan), as shown below.
The reason the chawan is put here is so that it does not get in the way of closing the door of the ji-fukuro (which is done immediately after removing the chawan, so that it can be finished with before other utensils populate the mat in front of the fukuro-dana).
⁵The reference is to the way things have been done in every case except the one immediately preceeding this one (which was karamono-date/bon-date) — the chaire is placed in front of the mizusashi:
and the chawan is then moved to stand beside it:
⁶Rikyū’s actual words are more evocatively literal: “ふくさ、こしにはさミ” [“the fukusa is stuffed into the (obi at the) hip”]. According to Oribe (who explains this very clearly), Rikyū always suspended the fukusa (with the wiping surface folded inward, and the point facing forward) on the right side of his body, near the opening of the futokoro. Oribe preferred to suspend it on the left side of his body, with the point facing backward. Sōtain, in addition to copying Oribe, folded the fukusa so that the wiping surface was on the outside (as most schools teach us to do it now) when hanging the fukusa from his obi, and before folding it during the temae he opened it up and went throught the motions of finding the wa-sa (this evolved into shi-hō-sabaki — also pronounced yo-hō-sabaki) at the beginning of any temae (koicha or usucha) before returning it to triangular shape and then folding it down to a small pad. In general, then, the way most schools deal with the fukusa comes from Oribe’s usages.
After the sōrei (in the case of bon-date)*, or after the shifuku had been removed from the chaire, Rikyū folded the fukusa (without doing anything like shi-hō-sabaki) and immediately inserted it into his futokoro. Then, after picking up the chaire, he took the fukusa out and used it to wipe the chaire, returned the fukusa to his futokoro, and then put the chaire down in its temae seat near the mizusashi. Then he took the fukusa out again, flatened out one fold and rested it thus on his left hand, picked up the chashaku, and cleaned it. After resting the chashaku on the chaire (or on its tray), he folded the fukusa back in half and returned it to his futokoro. The fukusa was used only to wipe the chaire, the chaire-bon, and the chashaku, nothing else. (He did not, for example, wipe the lid of the mizusashi or other place with the fukusa before placing the chakin there, and he did not use the fukusa to open the lid of the kama†). He did not refold the fukusa again during the temae. At the end of the temae (after sweeping the mats with the habōki/za-baki), when the host returned after haiken, he first opened the lid of the kama slightly, and then took the fukusa out of his futokoro and (without refolding it) immediately put it into his left sleeve. Then he turned to the guests and answered their questions about the chaire.
*In the case of bon-date the fukusa must be folded beforehand, since the host will use it to clean the chaire-bon before he removes the shifuku from the chaire. Whereas he originaly always folded the fukusa immediately after the sōrei, he later accepted Oribe’s arguments and delayed until after the shifuku had been removed when using a more ordinary chaire.
†If the lid of the kama seemed too hot to handle with the bare hand, Rikyū used the chakin to open the lid, then rested the chakin on the front of the lid until it was time to close it, then used the chakin when closing the lid (whether or not it was actually necessary — when the chakin is used thus once, it must be used every time the lid is handled until the very end of the temae), and so put the chakin elsewhere — on the shiki-ita, on the lower shelf of the tana (in front of the mizusashi if possible), on the lid of the mizusashi, or on the robuchi (depending on circumstances).