With regard to education, it is rare to meet with a Japanese who cannot read, write, and cipher; and in buying and selling they use computing slides like the Chinese, by the aid of which they quickly settle the amount to be paid. They do not, except in the higher classes, receive what we understand by a general or scientific education, the members of each trade or profession being only instructed in what pertains to their own affairs--a fact the inquiring stranger soon discovers. CHAPTER IV. THE TYCOON, DAIMIOS, AND ARISTOCRACY. The Government of Japan consists of an oligarchy of feudal princes, called Daimios, wielding absolute authority in their respective provinces, but subject to the general control of one of their number, (selected from one of three great families), called the 'Tycoon,' who, assisted by a 'Gorogio,' or 'Great Council,' presides over the affairs of the state in the name of the 'Mikado,' or 'Spiritual Emperor,' its supreme head. The office of Mikado is apparently the cause of most of the disturbances which agitate the country. Its temporal importance lies in possessing the power of issuing decrees, bestowing titles, and delegating authority to others; and princes discontented with the Tycoon are constantly intriguing against his legitimate influence with the Mikado. For instance: an attempt was made in 1864 by a powerful coalition, headed by Choisiu, prince of Nangato, to obtain possession of the Mikado's person. This was only prevented after a severe struggle by the bravery of the Tycoon's guard, to whose care the palace and its inmates were entrusted. During the conflict a large portion of the sacred city of Miako was burnt. [Illustration: A DAIMIO PAYING A STATE VISIT.] The Tycoon only leaves Yeddo when affairs of state require his presence elsewhere. His palace is situated in the heart of the city, and is surrounded by grounds several miles in circumference, and enclosed by a deep moat. It is there that he receives the compulsory visits of the grandees of the empire, one of whom, on the point of being ushered into the audience-chamber, is shown opposite, in his robes of ceremony, and attended by a sword-bearer, in token of his high rank. The bonze, or priest, who precedes him, does not impart any religious signification to the visit, as priests commonly act in the double capacity of spy and master of the ceremonies. The screen, which forms the background of the illustration is worthy of attention, as its subject is taken from the Japanese mythology, and represents the great sun-god from whom Ten-zio-dai-zin, the patron goddess of the empire, sprang.