The plate thus obtained shows accidental clouding, or massing of dark tones, and these patches are taken as the basis of a pictorial design to which final character is given by inlaying with gold and silver, and by kata-kiri sculpture. Such pictures partake largely of the impressionist character, but they attain much beauty in the hands of the Japanese artist with his extensive _répertoire_ of suggestive symbols. A process resembling maze-gane, but less fortuitous, is _shibuichi-doshi_ (combined shibuichi), which involves beating together two kinds of shibuichi and then adding a third variety, after which the details of the picture are worked in as in the case of maze-gane. The charm of these methods is that certain parts of the decorative design seem to float, not on the surface of the metal, but actually within it, an admirable effect of depth and atmosphere being thus produced. Mention must also be made of an extraordinarily elaborate and troublesome process invented by Kajima Ippu, a great artist of the present day. It is called _togi-dashi-zogan_ (ground-out inlaying). In this exquisite and ingenious kind of work the design appears to be growing up from the depths of the metal, and a delightful impression of atmosphere and water is obtained. All these processes, as well as that of _repoussé_, in which the Japanese have excelled from a remote period, are now practised with the greatest skill in Tokyo, Kioto, Osaka and Kanazawa. At the art exhibitions held twice a year in the principal cities there may be seen specimens of statuettes, alcove ornaments, and household utensils which show that the Japanese worker in metals stands more indisputably than ever at the head of the world's artists in that field. The Occident does not yet appear to have full realized the existence of such talent in Japan; partly perhaps because its displays in former times were limited chiefly to sword-furniture, possessing little interest for the average European or American; and partly because the Japanese have not yet learned to adapt their skill to foreign requirements. They confine themselves at present to decorating plaques, boxes and cases for cigars or cigarettes, and an occasional tea or coffee service; but the whole domain of salvers, dessert-services, race-cups and so on remains virtually unexplored. Only within the past few years have stores been established in the foreign settlements for the sale of silver utensils, and already the workmanship on these objects displays palpable signs of the deterioration which all branches of Japanese art have undergone in the attempt to cater for foreign taste. In a general sense the European or American connoisseur is much less exacting than the Japanese. Broad effects of richness and splendour captivate the former, whereas the latter looks for delicacy of finish, accuracy of detail and, above all, evidences of artistic competence.