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5 by means of the Chinese literature which the priests received. In the thirteenth century a monk named Sin Ran founded a new Buddhist sect, which incorporated in its belief much of the old creed. In the sixteenth century the Christian faith was introduced by the Portuguese, led by the Jesuit Father, Francis Xavier, and spread rapidly for about forty years, but in 1587 the Catholic missionaries were exiled, and the religion proscribed. The always powerful Shintô and Buddha creeds again held sway, and continued to do so up to recent times.

Few subjects are more interesting than the artistic temperament of the Japanese. The full development of their genius is so obvious that no one can doubt it has reached its highest perfection, and it is equally certain that this development has been arrived at by slow and gradual steps.

It is proved beyond question that the earliest art in Japan came from China, in the fifth century; and from that time until the twelfth the Japanese showed but little aptitude as pupils. In the thirteenth was founded the Yamato, or Japanese school, and this commenced an epoch marked by considerable progress in execution, although showing as yet no evidence of originality or creative power; nothing in fact but a slavish imitation of Chinese models. This period of progress appears to have lasted until the early part of the fifteenth century, when was founded the Kano School, which with the Tosa (followers of the Yamato School), exists in a modified form in the present day. From the middle of the fifteenth century until the commencement of the eighteenth would seem to have been a period during which but little advance was made; but towards the close of this century some attempt was made by a few artists to free themselves from the trammels of Chinese models, retaining their processes and science whilst endeavouring to found an original style, and taking their subjects from nature, and national and popular sources. Still it must be borne in mind that these men belonged to the nobility, and it remained for Hokusai and his followers—men of the people—who appeared at the commencement of the present century, to popularize art in Japan, and to produce the most truly characteristic art their country has seen. From the earliest times, and throughout the middle ages, and indeed down to the advent of these men, art had been practised only by the nobles, and chiefly by them as a pastime. It sometimes happened at the ancient court of Kiôto, that some “Kugés,” reduced by indigence to labour for their livelihood, betook themselves to liberal careers, becoming chiefly professors of music, masters-of-arms, etc., and sometimes devoting themselves to pictorial or decorative art; but with the advent of Hokusai and his school, a new order of things was introduced, and these arts, which had languished with more or less feebleness for many centuries in the hands of the “two-sworded” amateurs, now began to show signs of surprising vitality and freshness, nurtured by these humbler workers, who, requiring but little for their subsistence, expended their skill upon the cheapest and simplest objects.

During the long period in which the Japanese jealously secluded themselves from all contact with the European world (whose advice and example they have now too great a tendency to follow without discrimination) they tempered all the outward magnificence of life with a simplicity which is ever perceptible in their manners, while they remain genuinely national. Before these estimable qualities were degenerated by a too close intimacy with European ideas, they were able in every way to prove themselves inimitable in the interior arrangement of their habitations, in the harmony of colours, and in the choice of decoration. A Japanese house exhibited in its simple apartments, a refinement and simplicity in marked contrast to that discordant style which is so offensive to the eye in most of our European rooms. Give some flowers to a gardener, or to a young girl, and they will intuitively form