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Rh is indeed not one, but multiform. There is the rabbit-warren style, exemplified in the streets at the back of the Ginza in Tōkyō. There is the wooden shanty or bathing-machine style, of which the capital offers a wealth of examples. There is the cruet-stand style, so strikingly exemplified in the new Tōkyō Prefecture. The Brobdingnagian pigeon-house style is represented here and there both in wood and stone. Its chief feature is having no windows, at least, none to speak of. After all, these things are Japan's misfortune, not her fault. She discovered Europe, architecturally speaking, at the wrong moment. We cannot with any grace blame a nation whom we have ourselves misled. If Japan's contemporary efforts in architecture are worse even than ours, it is chiefly because her people have less money to dispose of. Moreover, Nature herself confines them to the flat and the little:—three storeys are a dangerous experiment in this earthquake-shaken land.

 Armour. Japanese armour might serve as a text for those authors who love to descant on the unchanging character of the East. Our own Middle Ages witnessed revolutions in the style of armour as complete as any that have taken place in the Paris fashions during the last three hundred years. In Japan, on the contrary, from the beginning of true feudalism in the twelfth century down to its extinction in 1871, there was scarcely any change. The older specimens are rather the better, rather the more complete; the newer are often rather heavier, owing to the