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pictures. The style of our pictures differs from oil-paintings, as everyone knows, and the nearest approach is, perhaps, to water-colour in the case of colour-painting. The chief stress we lay upon pictures is the force of the brush and the effect of impression. I do not say that the oil-painting overlooks this important point, but there seems to exist some difference in manipulation between ours and the oil-paintings, for in the case of the Japanese a little failure or mistake will show itself more readily than in the case of the oil, as there is no possibility in our case of correcting any trifling mistake when it is once committed. But, on the other hand, as our aim is directed more to impression than to minuteness of detail, our pictures are not generally so thoroughly and finely done as the oil pictures, except, indeed, in cases of ancient religious pictures. Hence there are to be observed great defects in anatomy and perspective. The sculptures and pictures of Nara and Heian were advanced in the direction of anatomy in an admirable degree, and it is a matter of great regret that later art has become more and more deficient in that respect. Again, in matters of geometrical proportion, or rather perspective, our pictures are greatly deficient. These defects are, of course, to be remedied. It would be silly to keep such defects because they exist in our old style of painting. At all events, the artistic world of Japan has also to make some movement to meet the circumstances and demands of the period, and I am most sanguine that if these matters are thoroughly imbibed by the artist so as to grasp a true conception of his opportunities he will become much better off, but until then some allowances and excuses must be made. In this respect the efforts of the new era ought to be sympathized with rather than assailed.

Since about twenty-five years ago all sorts of art exhibitions—pictures, of course, being the principal ones—have been held in Tokyo as well as in provincial towns, the numbers being increased year after year. There are also several associations the object of which is the encouragement of art in one way or another. At the exhibitions the merits of the objects exhibited are submitted to the judgment of experts, and appropriate prizes are awarded. Such exhibitions are opened at the best seasons of the year, spring or autumn. They are much in the same method as those of Paris or London. They materially differ in style and scale from those quaint competitive ‘pairings’ of the Heian Court referred to above. All the exhibits are generally for sale: they are all genuine and their prices are affixed, and, as a rule, are not high. In the case of pictures, they are really insignificant when compared with the prices asked for such works in Western salons. Of course, our pictures generally do not take so much time and pains as oil-