For triptychs and pillar-prints, a much larger and heavier mount is required than in the case of ordinary sheets. If the collector has only a few of the former, he may prefer to mount the three sheets separately, for convenience in storing, and place the three mounts side by side only when exhibiting them. If the two end sheets are mounted so that they come very close to the right and to the left-hand edges of their respective mounts, the effect of the three assembled is by no means bad; and the ease of handling them is an advantage. Only the most perfectly matched triptychs can in any case dispense with the necessity of narrow strips left in the mat to cover the junction-edges of the sheets. Some collectors have card-catalogues in which they keep all information relating to each print. Others use the bottom of the mount under the mat for that purpose. For a large collection the former is preferable; for a small one, the latter. The mounted prints are best kept in portfolios or Solander-boxes, laid flat on shelves and protected from dust as much as possible. Within the portfolio or box, the arrangement that is most useful is the chronological one. There have been in the past several collections, such as the Hayashi and Wakai, whose owners felt it to be appropriate that they stamp their private seals upon the face of each print held by them. It is useless to comment upon the wisdom or unwisdom of their course; for the thing is done, and many a fine print is now indelibly branded with these insignia. But it may be pointed out that the present practice of reputable collectors does not sanction such acts. Should any collector who happens to read these lines contemplate thus immortalizing himself, I suggest that he seriously consider whether even one small seal is not a disturbing factor when injected into a design so subtly calculated as the finest prints. Further, if one collector may so stamp his prints, all others surely have a similar privilege; and if the habit became universal, what would be the appearance of a print which, in the next two hundred years, should pass--as a print might easily pass--through the hands of twenty collectors? And lastly, is there not a certain betrayal of petty conceit when the mere temporary owner of a great work of art judges the fact of his brief ownership to be of such importance that future generations must be told of it; and so places his own emblem beside that of the creator of the print--beside the name of the immortal Kiyonaga or Sharaku? CONCLUSION. The day is coming--perhaps it is already here--when the Japanese Print will become the spiritual possession of a wider circle than that limited group of collectors who have been devoted to it in the past. Alien though this art is, it has power to penetrate to regions of the mind which Western art too often leaves unvisited.