subjects to their own inclination.

Almost opposite, a vertical composition of a lumber camp on a
mountainside, by Bunto Hayashi, attracts by an unusual subject very
descriptively rendered. The picture belongs to the older school, not so
much for the lack of colour, which is often erroneously identified with
the older Japanese works, as for a certain quality of less decoration
and of more detailed treatment of the drawing. The drawing is, of
course, the important element in all Japanese art, since all of their
work has to yield a great deal of pleasure of the intellectual kind at
close distance, on account of the smallness of Japanese dwellings, which
keeps the owner of the picture in close proximity with his artistic
possessions. A picture of crows in a rainstorm, on the same wall, on the
right side of the southern door, and also a very characteristic study of
some kind of cedar, with birds on the left of it, give one an excellent
idea of the astonishing variety of material that the Japanese artist
successfully controls.

In two irregularly shaped triangular galleries adjoining, Shodo Hirata
maintains the standard of the first gallery, not to forget, either,
Toyen Oka with his oleander bush and the cat on the picturesque fence.
Tesshu Okajima's hollyhock screens are marvels of decorative simplicity,
while Kangai Takakura uses a washday as a motive for a double twofold
screen decoration. The last two artists can both be found in the second
irregular triangular gallery, opposite the first one mentioned. The
central octagonal gallery also is devoted to screen pictures, done by
means of embroidery. Some of them, largely those of native design, are
successful in really giving the quality of the subjects depicted, but
cannot grow enthusiastic over two unduly protected screen embroideries,
a German marine and an English pair of lions, done in silk. They are