The demand for the various art products of Japan in both Europe and America has had its perhaps inevitable result in not only the manufacture of articles simply and solely for the foreign market, but in the what I may term faking of modern to represent ancient art productions. "Old" Satsuma, for example, is a case in point. The genuine old Satsuma ware, by constant use, obtained, like meerschaum, a delightful tint. Modern Satsuma is comparatively white, and so, in order to pander to the taste of the European collector of the ancient article, the modern is stained to the required shade. The article itself is genuine, and indeed beautiful, but this "faking" of it to meet European and American tastes is one of the results, I fear, of Western influences. What the precise effect of European influences may be on the old porcelain art of Japan it is impossible to say. So far as I am concerned, I have no hesitation in expressing my own opinion that it will not be a healthy influence. Art for art's sake is, I admit, difficult when the plutocrats of the West, with a craze or a fad for Eastern art, are pouring out their wealth in order to obtain specimens thereof. Demand usually induces supply, and the Japanese artisan of to-day would be more than human did he not respond to the demand of the West for "Old Satsuma" and other specimens of the artistic treasures in pottery and porcelain of Japan. The spirit of commercialism is, as I have said before, fatal to art. If the artist is forced to work quickly and cheaply he quite evidently cannot bring his individuality into play. He must transform his studio into a workshop, and ponder only, or chiefly, upon the possibility of his output. I have been much struck in this connection with the remarks of a writer in regard to orders for art work sent from New York to Japan. "I can remember," he said, "one of our great New York dealers marking on his samples the colours that pleased most of his buyers, who themselves were to place the goods. All other colours or patterns were tabooed in his instructions to the makers in Japan. This was the rude mechanism of the change, the coming down to the worst public taste, which must be that of the greatest number at any time." [Illustration: KUTANI EARTHENWARE, DECORATED WITH POLYCHROME ENAMELS EARLY EIGHTEENTH CENTURY] [Illustration: INCENSE BURNER AWATA FAYENCE. EIGHTEENTH CENTURY]