Moreover, the alien art of Japan, in its pictorial form, has helped to
justify the more stenographic school of etching. Greatly transcending
Japanese expression, the modern etcher has undoubtedly accepted moral
support from the islands of the Japanese. He too etches a kind of
shorthand, even though his notes appeal much to the spectator's
knowledge, while the Oriental shorthand appeals to nothing but the
spectator's simple vision. Thus the two artists work in ways dissimilar.
Nevertheless, the French etcher would never have written his signs so
freely had not the Japanese so freely drawn his own. Furthermore still,
the transitory and destructible material of Japanese art has done as much
as the multiplication of newspapers, and the discovery of processes, to
reconcile the European designer--the black and white artist--to working
for the day, the day of publication. Japan lives much of its daily life
by means of paper, painted; so does Europe by means of paper, printed.
But as we, unlike those Orientals, are a destructive people, paper with
us means short life, quick abolition, transformation, re-appearance, a
very circulation of life. This is our present way of surviving
ourselves--the new version of that feat of life. Time was when to
survive yourself meant to secure, for a time indefinitely longer than the
life of man, such dull form as you had given to your work; to intrude
upon posterity. To survive yourself, to-day, is to let your work go into
daily oblivion.

Now, though the Japanese are not a destructive people, their paper does
not last for ever, and that material has clearly suggested to them a
different condition of ornament from that with which they adorned old
lacquer, fine ivory, or other perdurable things. For the transitory
material they keep the more purely pictorial art of landscape. What of
Japanese landscape? Assuredly it is too far reduced to a monotonous