Buddhist Style. The Buddhist style was probably even more ancient than the Chinese, for the scheme of colouring distinctive of the Buddhist picture was almost certainly of Indian origin; brilliant and decorative, and heightened by a lavish use of gold, it was essential to the effect of a picture destined for the dim light of the Buddhist temple. The style was applied only to the representations of sacred personages and scenes, and as the traditional forms and attributes of the Brahmanic and Buddhist divinities were mutable only within narrow limits, the subjects seldom afforded scope for originality of design or observation of nature. The principal Buddhist painters down to the 14th century were members of the Kosé, Takuma and Kasuga lines, the first descended from Kanaoka, the second from Takuma Taméuji (ending 10th century), and the third from Fujiwara no Motomitsu (11th century). The last and greatest master of the school was a priest named Meicho, better known as Cho Densu, the Japanese Fra Angelico. It is to him that Japan owes the possession of some of the most stately and most original works in her art, sublime in conception, line and colour, and deeply instinct with the religious spirit. He died in 1427, at the age of seventy-six, in the seclusion of the temple where he had passed the whole of his days. Native Style. The native style, _Yamato_ or _Wa-gwa-ryu_, was an adaptation of Chinese art canons to motives drawn from the court life, poetry and stories of old Japan. It was undoubtedly practised by the Kose line, and perhaps by their predecessors, but it did not take shape as a school until the beginning of the 11th century under Fujiwara no Motomitsu, who was a pupil of Kose no Kinmochi; it then became known as _Yamato-ryu_, a title which two centuries later was changed to that of _Tosa_, on the occasion of one of its masters, Fujiwara no Tsunetaka, assuming that appellation as a family name. The Yamato-Tosa artists painted in all styles, but that which was the speciality of the school, to be found in nearly all the historical rolls bequeathed to us by their leaders, was a lightly-touched outline filled in with flat and bright body-colours, in which verdigris-green played a great part. The originality of the motive did not prevent the adoption of all the Chinese conventions, and of some new ones of the artist's own. The curious expedient of spiriting away the roof of any building of which the artist wished to show the interior was one of the most remarkable of these. Amongst the foremost names of the school are those of Montomitsu (11th century), Nobuzane (13th century), Tsunetaka (13th century), Mitsunobu (15th and 16th centuries), his son Mitsushige, and Mitsuoki (17th century). The struggle between the Taira and Minamoto clans for the power that had long been practically