The Japanese lacquer of the present time is not so highly prized as that of the last or the previous century. It is not so well made, partly for the reason that the workmen have lost their skill in the art, and partly because labor is much more expensive now than formerly. The prices obtained for some of the specimens of this kind of work have been very high, but they are not enough to meet the advance that has been made in wages in the past few years. The manufacturers are anxious to turn their money as rapidly as possible, and consequently they do not allow their productions to dry thoroughly. To be properly prepared, a piece of lacquer should dry very slowly; and it used to be said that the best lacquer was dried under water, so that the process should not be too rapid. The article, whatever it may be, is first shaped from wood or papier-maché, and then covered with successive coatings of varnish or lacquer; this is made from the gum of a tree, or, rather, from the juice, and it is said to have the peculiar property of turning black from exposure to the air, though it is of a milky whiteness when it exudes from the tree. It can be made to assume various colors by the addition of pigments; and while it is in a fresh condition coatings of gold-leaf are laid on in such a way as to form the figures that the artist has designed. Every coating must be dried before the next is laid on; and the more elaborate and costly the work, the more numerous are the coatings. Sometimes there may be a dozen or more of them, and pieces are in existence that are said to have received no less than fifty applications of lacquer. A box may thus require several years for its completion, as the drying process should never be hastened, lest the lacquer crack and peel when exposed to the air, and especially to heat. Good lacquer can be put into hot water without the least injury; but this is not the case with the ordinary article. In 1874 a steamer was lost on the coast of Japan. She had as a part of her cargo the Japanese goods from the Vienna Exhibition, and none of them were recovered for nearly a year. There they lay under the salt-water, and it was supposed that nearly everything would be ruined. But it was found that the lacquered ware had suffered very little, and some of these very articles were shown at Philadelphia in 1876. A few of the pieces required to be freshly polished, but there were many of them that did not need even this slight attention. [Illustration: JAPANESE ARTIST CHASING ON COPPER.]