of the faces to indicate the arrested development of an otherwise marvelous art faculty. It never occurred to me that they might be conventional only in the sense of symbols which, once interpreted, would reveal more than ordinary Western drawing can express. But this was because I still remained under old barbaric influences,--influences that blinded me to the meaning of Japanese drawing. And now, having at last learned a little, it is the Western art of illustration that appears to me conventional, undeveloped, semi-barbarous. The pictorial attractions of English weeklies and of American magazines now impress me as flat, coarse, and clumsy. My opinion on the subject, however, is limited to the ordinary class of Western illustration as compared with the ordinary class of Japanese prints.

Perhaps somebody will say that, even granting my assertion, the meaning of any true art should need no interpretation, and that the inferior character of Japanese work is proved by the admission that its meaning is not universally recognizable. Whoever makes such a criticism must imagine Western art to be

everywhere equally intelligible. Some of it--the very best--probably is; and some of Japanese art also is. But I can assure the reader that the ordinary art of Western book illustration or magazine engraving is just as incomprehensible to Japanese as Japanese drawings are to Europeans who have never seen Japan. For a Japanese to understand our common engravings, he must have lived abroad. For an Occidental to perceive the truth, or the beauty, or the humor of Japanese drawings, he must know the life which those drawings reflect.

One of the critics at the meeting of the Japan Society found fault with the absence of facial expression in Japanese drawing as conventional. He compared Japanese art on this ground with the art of the old Egyptians, and held both inferior because restricted by convention. Yet surely the age which makes Laocoon a classic ought to recognize that Greek art itself was not free from conventions. It was an art which we can scarcely hope ever to equal; but it was more conventional than any existing form of art. And since it proved that even the divine could find