Among the many skilled artists who have practised this beautiful craft since the first on record, Kiyohara Norisuye (c. 1169), may be mentioned Koyetsu (1558-1637) and his pupils, who are especially noted for their inro (medicine-cases worn as part of the costume); Kajikawa Kinjiro (c. 1680), the founder of the great Kajikawa family, which continued up to the 19th century; and Koma Kyuhaku (d. 1715), whose pupils and descendants maintained his traditions for a period of equal length. Of individual artists, perhaps the most notable is Ogata Korin (d. 1716), whose skill was equally great in the arts of painting and pottery. He was the eldest son of an artist named Ogato Soken, and studied the styles of the Kano and Tosa schools successively. Among the artists who influenced him were Kano Tsunenobu, Nomura Sotatsu and Koyetsu. His lacquer-ware is distinguished for a bold and at times almost eccentric impressionism, and his use of inlay is strongly characteristic. Ritsuo (1663-1747), a pupil and contemporary of Korin, and like him a potter and painter also, was another lacquerer of great skill. Then followed Hanzan, the two Shiome, Yamamoto Shunsho and his pupils, Yamada Joka and Kwanshosai Toyo (late 18th century). In the beginning of the 19th century worked Shokwasai, who frequently collaborated with the metal-worker Shibayama, encrusting his lacquer with small decorations in metal by the latter. Modern Work. No important new developments have taken place during modern times in Japan's lacquer manufacture. Her artists follow the old ways faithfully; and indeed it is not easy to see how they could do better. On the other hand, there has not been any deterioration; all the skill of former days is still active. The contrary has been repeatedly affirmed by foreign critics, but no one really familiar with modern productions can entertain such a view. Lacquer-making, however, being essentially an art and not a mere handicraft, has its eras of great masters and its seasons of inferior execution. Men of the calibre of Koyetsu Korin, Ritsuo, Kajikawa and Mitsutoshi must be rare in any age, and the epoch when they flourished is justly remembered with enthusiasm. But the Meiji era has had its Zeshin, and it had in 1909 Shirayama Fukumatsu, Kawanabe Itcho, Ogawa Shomin, Uematsu Homin, Shibayama Soichi, Morishita Morihachi and other lesser experts, all masters in designing and execution. Zeshin, shortly before he died, indicated Shirayama Fukumatsu as the man upon whom his mantle should descend, and that the judgment of this really great craftsman was correct cannot be denied by any one who has seen the works of Shirayama. He excels in his representations of landscapes and waterscapes, and has succeeded in transferring to gold-lacquer panels tender and delicate pictures of nature's softest moods--pictures that