The symbols of Japan are nearly all taken from China. The imperial dragon, though having only three claws, is closely allied to the four and five clawed dragons of China. The Ky-lin and Dog of Fo both reappear, and the Fong-hoang, or Foo, again presents itself with added elegance of form and supreme beauty of plumage. Another bird, resembling an eagle, deserves its title of imperial from its majesty of gait and expression, and seems in perfect keeping with its accompanying noble emblems. The sacred tortoise has a long feathery and fan-like tail, and appears in numberless compositions. The crane, turtle, pine, and bamboo are the emblems of longevity. In view of all that Japan owes to China and Corea--a great part of its religion, its knowledge of art processes, and its symbols, one would expect to find little that is original in its ceramics. There is, on the other hand, often visible a decided individuality and independence. Japan absorbed and transmuted, while apparently engrossed in copying. The process of assimilation, of bringing the foreign suggestion into subjection to native principles, took time; but even while Japan was in its pupilage, its national character was asserting itself. Its history and position show alike the favorable conditions under which its art grew up. After the aboriginal Ainos had been once subdued by their Asiatic conquerors, history substantiates the claim of Japan to the title of “The Land of Great Peace.” It is true that revolution has of late years changed the form of government by the removal of the Tycoon; but from the beginning of the historical period, B.C. 660, to the civil wars which preceded the establishment of the Tycoons nearly three hundred years ago, there was no war of any consequence. After that event, and down to the return of the executive authority into the hands of the Mikado, there was another long peace. The Japanese, be it again observed, cared little for their god of glory, Bis-ja-mon. Isolation and freedom from the disturbing consequences of war gave the Japanese an opportunity of cultivating the arts of peace with a constantly increasing show of independence, even when the art was based upon a foreign foundation.