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It is utterly impossible to dwell upon the different phases of the pictorial world of this period, but I must not neglect to make passing allusions. The Shijio School, the real originator of which was the great Okio, and which has exercised, and is still exercising, such vast influence upon our art world, was a growth of this period. Its only fault is that it is apt to be too realistic and lack depth. The rise and development of the Chikuden style, which was more in the nature of scholastic attainment, and which has resulted in exercising much influence in the latter part of this period, and also the influence exercised by Bunchio and his school, which were somewhat inclined toward Chikuden in some respects, but more powerful and varied, keeping the Kamo and Tosa at defiance, belong to this period. I must also remind my readers of Kokwan and Denzen, who introduced, both independently and simultaneously, the European style of pictures and copper engravings at the end of the eighteenth century. Nor can I forget to mention the name of the celebrated Watanabe Kwasan, who put an end to his own life as a consequence of his ardent desire to introduce Western enlightenment, and who was at the same time a great amateur artist.

We are now in the Meiji era, which has lasted already thirty-seven years. The commencement of this era was the destruction of everything old. There was a time when fine antique temples were pulled down, precious pictures of some thousand years or more were thrown into dust, and good lacquer-works were burned in order that the gold might be taken out of the ashes. Everything must be renovated and founded upon European ideas. It is sad when we look back upon it from the present time, but it was the necessary outcome of the spirit of the time. I know several of the best artists of the day, having no occupation, proceeded to take lessons in European drawings, and engaged themselves as draughtsmen in the engineering offices of public departments. But things could not remain in such a state for long, though no relaxation was occasioned in our emulation of things European, both material and intellectual. We have betaken ourselves once more to the art of old Japan; this was also due, to a great extent, to our Western advisers and patrons, to whom we must express our gratitude. We have now succeeded, to a considerable extent, in reviving our old art, not only in pictures and sculptures, but also in many branches of semi-industrial and semi-artistic objects. Great encouragement has, of course, been given by foreign patronage, but greater pains have been taken by the natives, and no small encouragement has been given by the Emperor and Empress themselves. Of course, in some industries the application of art has necessarily been changed to some other branch, as, for