regulations which limited the rich man's right to use his money as he might please. Even a great lord--even the Shogun himself [355] --could not do what he pleased. As for any common person,--farmer, craftsman, or shopkeeper,--he could not build a house as he liked, or furnish it as he liked, or procure for himself such articles of luxury as his taste might incline him to buy. The richest heimin, who attempted to indulge himself in any of these ways, would at once have been forcibly reminded that he must not attempt to imitate the habits, or to assume the privileges, of his betters. He could not even order certain kinds of things to be made for him. The artizans or artists who created objects of luxury, to gratify aesthetic taste, were little disposed to accept commissions from people of low rank: they worked for princes, or great lords, and could scarcely afford to take the risk of displeasing their patrons. Every man's pleasures were more or less regulated by his place in society, and to pass from a lower into a higher rank was no easy matter. Extraordinary men were sometimes able to do this, by attracting the favour of the great. But many perils attended upon such distinction; and the wisest policy for the heimin was to remain satisfied with his position, and try to find as much happiness in life as the law allowed. Personal ambition being thus restrained, and the cost of existence reduced to a minimum much below our Western ideas of the necessary, there were really established conditions highly favourable to certain forms of culture, in despite of sumptuary [356] regulations. The national mind was obliged to seek solace for the monotony of existence, either in amusement or study. Tokugawa policy had left imagination partly free in the directions of literature and art--the cheaper art; and within those two directions repressed personality found means to utter itself, and fancy became creative. There was a certain amount of danger attendant upon even such intellectual indulgences; and much was dared. Aesthetic taste, however, mostly followed the line of least resistance. Observation concentrated itself upon the interest of everyday life,--upon incidents which might be watched from a window, or studied in a garden,--upon familiar aspects of nature in various seasons,--upon trees, flowers, birds, fishes, or reptiles,--upon insects and the ways of them, --upon all kinds of small details, delicate trifles, amusing curiosities. Then it was that the race-genius produced most of that queer bric-a-brac which still forms the delight of Western collectors. The painter, the ivory-carver, the decorator, were left almost untroubled in their production of fairy-pictures, exquisite grotesqueries, miracles of liliputian art in metal and enamel and lacquer-of-gold. In all such small matters they could feel free; and the results of that freedom are now treasured in the museums of Europe and America. It is true that most of the arts (nearly all of