converge as they approach the spectator. Decorative Art. It is in the realm of decorative art that the world has chiefly benefited by contact with Japan. Her influence is second only to that of Greece. Most Japanese decorative designs consist of natural objects, treated sometimes in a more or less conventional manner, but always distinguished by delicacy of touch, graceful freedom of conception and delightfully harmonized tints. Perhaps the admiration which the Japanese artist has won in this field is due not more to his wealth of fancy and skilful adaptation of natural forms, than to his individuality of character in treating his subjects. There is complete absence of uniformity and monotony. Repetition without any variation is abhorrent to every Japanese. He will not tolerate the stagnation and tedium of a dull uniformity by mechanical reproduction. His temperament will not let him endure the labour of always producing the same pattern. Hence the repetition of two articles exactly like each other, and, generally, the division of any space into equal parts are instinctively avoided, as nature avoids the production of any two plants, or even any two leaves of the same tree, which in all points shall be exactly alike. [Illustration: PLATE I. PAINTING (_These illustrations are reproduced by permission of the Kokka Company, Tokyo, Japan._) FIG. 1.--MANJUSRI, DEITY OF WISDOM. Kosé School (13th century). FIG. 2.--WATERFALL OF NACHI. Attributed to Kanaoka (9th century). FIG. 3.--PORTRAIT OF THE PRIEST DAITO-KOKUSHI. Tosa School (14th century).] [Illustration: PLATE II. PAINTING FIG. 4.--PRIESTS CARICATURED BY ANIMALS. By Toba Sojo (1053-1140). FIG. 5.--ESCAPE OF THE EMPEROR DISGUISED AS A WOMAN. Scene from the Civil War. By Keion (13th century).]