The art of lacquering in Japan dates back at least 1,200 or 1,300 years, and tradition assigns it a period more ancient still. There are, however, few if any articles of lacquer ware now in the country, whose origin can be traced back so many years. At any rate, there is no satisfactory evidence in regard to the antiquity of any specimens of lacquer ware dating back more than seven or eight centuries. In old Japan the manufacturer of lacquer work was intimately associated with the domestic life of the upper classes. Griffis tells us that nearly every Daimio had his Court lacquerer, and that a set of household furniture and toilet utensils was part of the dowry of a noble lady. On the birth of a daughter, he relates, it was common for the lacquer artist to begin the making of a mirror case, a washing bowl, a cabinet, a clothes rack, or a chest of drawers, often occupying from one to five whole years on a single article. An inro, or pill-box, might require several years for perfection, though small enough to go into a fob. By the time the young lady was marriageable, her outfit of lacquer was superb. The names of many of the great lacquer artists of Japan are still venerated. The masterpieces of Hoyami Koyetsu who flourished in the sixteenth century, are still, though rare, procurable. Japan numbers on her roll of fame twenty-eight great lacquer artists. There have, of course, been many hundreds, and indeed thousands, in the past centuries whose work was superb, but the twenty-eight are deemed to be the immortals of this particular art. One of these great men, Ogawa Ritsuo, is famous for the number and variety of the materials--mother-of-pearl, coral, tortoise-shell, &c. &c., he used in his work. A profuse richness is its chief characteristic. One of his pupils imitated in his work various materials--pottery and wood-carving, and bronzes. The last famous artist in lacquer, Watanobe Tosu, died about thirty years ago. Whether he is destined to have a successor or successors remains to be seen. These lacquer artists, as I have indicated, worked not for lucre, but for love. Attached to some Daimios household, they devoted their lives, their energies, their imagination, their artistic instincts to the devising of splendid work and the making of beautiful, ingenious, absolutely artistic and, at the same time, entirely useful articles.