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and in wood which are preserved in the temples. The Daibutsu, or gigantic bronze statue of Buddha, at Nara will serve as an example, having been illustrated so often that all the world is familiar with its appearance.

The objects upon which the art of the Japanese sculptors has been exercised are many. Particularly in the carving of the masks used in the Nō dances, and the little ornaments called netsuke, the skill and artistic qualities displayed are often of the highest order. It would be difficult to overpraise the best work of such artists in this line, as Deme Jikan, Minko, Tomotada, Miwa, and many others. As in the case of painting, the method used by the carver must be direct and masterly to satisfy Japanese taste. Only clean, strong strokes will pass muster. There must be no niggling nor retouching. Visitors to the shrines at Nikkō will be impressed by this quality in the remarkable works to be found there by the famous seventeenth-century sculptor Hidari Jingorō, that is to say, "Left-handed Jingorō."

One of the most ancient of the arts of Japan is that of the potter. It is also one of the most profitable for study. The principles which have been enumerated as applicable to painting will be found carefully embodied in the fabrication and ornamentation of keramic wares, the variety of which is endless. In some instances these wares are known by the names of the makers, as Ninsei, Kenzan, Kozan, Seifu, and others; but in general they are designated by the names of the provinces wherein they