The third period includes the 17th, 18th and the greater part of the 19th centuries. It was the era of the artisan artist. The makers of Buddhist images and of sword ornaments carried on their work with undiminished industry and success, and some famous schools of the latter arose during this period. The Buddhist sculptors, however, tended to grow more conventional and the metal-workers more naturalistic as the 18th century began to wane. It was in connexion with architecture that the great artisan movement began. The initiator was Hidari Jingoro (1594-1652), at first a simple carpenter, afterwards one of the most famous sculptors in the land of great artists. The gorgeous decoration of the mausoleum of Iyeyasu at Nikko, and of the gateway of the Nishi Hongwan temple at Kioto, are the most striking instances of his handiwork or direction. The pillars, architraves, ceilings, panels, and almost every available part of the structure, are covered with arabesques and sculptured figures of dragons, lions, tigers, birds, flowers, and even pictorial compositions with landscapes and figures, deeply carved in solid or open work--the wood sometimes plain, sometimes overlaid with pigment and gilding, as in the panelled ceiling of the chapel of Iyeyasu in Tokyo. The designs for these decorations, like those of the sword ornaments, were adopted from the great schools of painting, but the invention of the sculptor was by no means idle. From this time the temple carvers, although still attached to the carpenters' guild, took a place apart from the rest of their craft, and the genius of Hidari Jingoro secured for one important section of the artisan world a recognition like that which Hishigawa Moronobu, the painter and book-illustrator, afterwards won for another. A little later arose another art industry, also emanating from the masses. The use of tobacco, which became prevalent in the 17th century, necessitated the pouch. In order to suspend this from the girdle there was employed a kind of button or toggle--the _netsuke_. The metallic bowl and mouthpiece of the pipe offered a tempting surface for embellishment, as well as the clasp of the pouch; and the netsuke, being made of wood, ivory or other material susceptible of carving, also gave occasion for art and ingenuity.