It would interest me to treat this subject most explicitly, and to deal with Japanese art from a psychological point of view; to consider not merely the objects it has created, but rather the mind and genius which have been manifested in its different creations; to deal more at length with the founders and pupils of the famous masters' schools of Nara and Kyoto, and to explain where their real value lies. To discuss the paintings, statuary, and architecture, the refinement of their watercolours, which can only be called sketches, small bronzes and jade or stone figures, the netsukes on masks, makimonos, "tories" and pagodas, would afford to our matter-of-fact appreciation an opportunity of realizing more fully the strength of their imagination. The average European generally admires in Japanese work the finish of detail, elaborateness of execution, and the patience of labour, applied to its object. He pays high prices for the workman's skill and manual dexterity, but seems to be quite indifferent to the artist's idea as such, and the originality of the conception escapes him entirely. Yet in the most famous creations of the celebrated aesthetes we are more struck by the force of their imagination than by the actual work itself. The _cha-no-yu_ style consisted, as mentioned above with reference to the Katsura-no-Rikyu Palace, of a few planks, bamboo beams, and thatched roof, and Kobori Enshu, Nippon's Le Notre, designed his gardens to offer a panoramic effect more than a place of recreation. It was not the house nor the grounds in their real grandeur which effected the impression desired; in fact, it was not reality at all that was before them in its crude and sometimes primitive material; but the suggestiveness of log house and gravel yard, which developed in their vivid fantasy into enchanted palace and fairy land. Men retiring from active life; generals crowned with many victories; distinguished, even abdicating Mikados, secluded themselves in different rural retreats to enjoy, after the struggles of life, perfect peace. They led a life of their own, an existence not so much of active reality as of passive contemplation, in which they discussed different ideas and strove for new ideals. They invented an artificial life of artistic refinement, admiring for days together a single work of art or a flower in full bloom, inhaling choice aromas and smelling exquisite perfumes. And stately processions were organized to go and partake of afternoon tea in a summer-house, where every movement was prescribed by strict etiquette, and where the handing and receiving of the cup were attended by fastidious courtesies, and the making of the beverage of a special green leaf, pounded to powder, and poured out of a black earthen pot, was an occupation requiring several hours. The tea ceremonies have often been described; there is a whole literature at our disposal, in which the regulations respecting these