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toughness which they nevertheless carve and chase almost as though it were wax, for casting in bronze and iron by the cire perdue process, and especially for the manufacture of armor, both offensive (such as swords and spears) and defensive (such as helmets and coats of mail). Japanese swords excel even the famous blades of Damascus and Toledo, and the names of the swordsmiths Munichika, Masamune, Muramasa, and others, are now of international reputation. The blades which were made by these men are not only of extraordinary excellence, but are also veritable works of art and highly prized as such by connoisseurs. Equally celebrated in different lines are the works of the Miochin and Goto families; and among the metal-workers of to-day are many worthy successors of these giants of the past.

The art of enamelling upon metal is, with some exceptions, comparatively a new one in Japan, but is now very popular. The wares are known to the Japanese as Shippō-yaki, and in general, in the West, as cloisonné. The centres of the enamel-workers are Tōkyō, Kyōto, and Nagoya, and the best-known makers are Namikawa, of Tōkyō, the inventor of the "cloison-less" enamel, and his namesake of Kyōto.

One of the most distinctive of the arts of Japan is that of lacquering, and the Japanese product far excels that of any other makers. The lac, which is a varnish made from the poisonous sap of a tree of the sumac (rhus) family, is applied in thin layers on a carefully prepared ground, usually of wood, and