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instance, metal sculptors, who have no more occasion to make helmets or sword ornaments, make vases or such-like, which may be used for up-to-date purposes.

We are now in a transitory state in every branch of art. We have not yet been able to speak of the grandeur of the Meiji era, but on the whole I am of opinion that improvement is perceptible in every branch, and I feel quite confident that if more encouragement, especially from abroad, be given, we shall be able to produce a memorable epoch. Some foreigners speak of a kind of deterioration of art objects; I dare say there is, but if so it must be excused on the ground that we are in a transitory state; and, besides, foreign customers themselves also cannot escape participation in the responsibility. Let me explain this a little more fully: Lacquer-work artists, for instance, can do just as good work as those of 200 years ago, provided that they are given time, and corresponding remuneration, and the proper expenses for the materials, a thing which modern purchasers will not do. Hence, artists cannot venture to make works of real art, except to special order, whereas in former days such artists usually had some special patrons in the persons of the feudal lords, who do not exist now. Foreign critics often speak of the designs of new objects as being bad: imitations of European articles of the kind, and speak of them as ‘deterioration.’ This, perhaps, is true in many cases, although there is behind this spurious art a really serious and progressive art of which less is known. Just fancy how many foreign patrons there are who appreciate the old style, whereas there is a comparatively large number who would only cast their eyes upon those objects which have some similarity to things that they themselves are accustomed to see; and, besides, the lower the price the more the purchasers—hence the dealers’ encouragement of this kind of article. My readers may think it vulgar that I speak about the prices of these objects, but perhaps I may be allowed to do so, as it is not from any mean motive. I say the prices of these Japanese articles are far lower than those of similar kinds in Europe, but as they are produced in a country which has been hitherto considered as inferior to theirs, the European purchasers seem to make up their minds that they must be purchased at a comparatively lower price. How, under such circumstances, can one expect objects of superior quality to be produced incessantly and sent abroad?

As to our pictures, I must add a few words more. The European oil-paintings and water-colours also are studied in Japan. There are many artists engaged on them, but hitherto we have not been able to produce great artists in those lines. Naturally, therefore, I must speak more about our native