Far Eastern sculpture, by its secondary importance among Far Eastern arts, witnesses again to the secondary importance assigned to man at our mental antipodes. In this art, owing to its necessary limitations, the representation of nature in its broader sense is impossible. For in the first place, whatever the subject, it must be such as it is possible to present in one continuous piece; disconnected adjuncts, as, for instance, a flock of birds flying, which might be introduced with great effect in painting, being here practically beyond the artist's reach. Secondly, the material being of uniform appearance, as a rule, color, or even shading, vital points in landscape portrayal, is out of the question, unless the piece were subsequently painted, as in Grecian sculptures, a custom which is not practised in China or Japan. Lastly, another fact fatal to the representation of landscape is the size. The reduced scale of the reproduction suggests falsity at once, a falsity whose belittlement the mind can neither forget nor forgive. Plain sculpture is therefore practically limited to statuary, either of men or animals. The result is that in their art, where landscape counts for so much, sculpture plays a very minor part. In what little there is, Nature's place is taken by Buddha. For there are two classes of statues, divided the one from the other by that step which separates the sublime from the ridiculous, namely, the colossal and the diminutive. There is no happy human mean. Of the first kind are the beautiful bronze figures of the Buddha, like the Kamakura Buddha, fifty feet high and ninety-seven feet round, in whose face all that is grand and noble lies sleeping, the living representation of Nirvana; and of the second, those odd little ornaments known as netsuke, comical carvings for the most part, grotesque figures of men and monkeys, saints and sinners, gods and devils. Appealing bits of ivory, bone, or wood they are, in which the dumb animals are as speaking likenesses as their human fellows. The other arts show the same motif in their decorations. Pottery and lacquer alike witness the respective positions assigned to the serious and the comic in Far Eastern feeling. The Far Oriental makes fun of man and makes love to Nature; and it almost seems as if Nature heard his silent prayer, and smiled upon him in acceptance; as if the love-light lent her face the added beauty that it lends the maid's. For nowhere in this world, probably, is she lovelier than in Japan: a climate of long, happy means and short extremes, months of spring and months of autumn, with but a few weeks of winter in between; a land of flowers, where the lotus and the cherry, the plum and wistaria, grow wantonly side by side; a land where the bamboo embosoms the maple, where the pine at last has found its palm-tree, and the tropic and the temperate zones forget their separate identity in one long self-obliterating kiss. Chapter 7. Religion.