Stone and brick-work, in their rectilinear shapes, impose a rigidity in architectural design from which modern bricks, in their rich variety of flat and curved surfaces, have wrought emancipation. In the new residential streets of St. Louis, for example, the architecture owes much of its freedom and beauty to the new shapes in which brick is now manufactured. Even wider liberty than now falls to the lot of the brick-maker has always been enjoyed by the potter. In his hands clay lends itself to any desired imitation, to any fresh design however fanciful; what is more it invites those modifications of old forms in which art takes its chief forward strides. All but infinite are the variations which Japanese potters have played on the shapes of vases, jars, kettles, and basins, each clearly true to its type, while at the same time original in a pleasing way. How the Japanese artist in clay has rejoiced in his freedom is exemplified in the collection of Japanese pottery at the Museum of Fine Arts, in Boston. Says Mr. Edward S. Morse, who brought this collection together: “Utensils for every day life, terra cotta funeral urns, large terra cotta bowls, weights for fishing nets, brush handles, and even clothes-hooks are in Japan made of pottery. Where we use silver and other metals, or glass, in making articles for daily use, the Japanese use pottery.” He adds: “The prehistoric pottery of Japan was modeled by hand, and to-day in various parts of the empire, this ancient art is continued in its prehistoric form. There are many potters in Japan who are still at work using only the hand in making bowls, delicate tea-pots, and dishes of various kinds. The pottery vessels offered at Shinto shrines are usually made without the use of the wheel and are unglazed. The potter’s wheel was brought to Japan from Korea. The first was probably the kick-wheel used in Satsuma and other southern provinces.”