of Nakagawa or Ishii exhibited here, you would see my point, because they are somehow wrong for becoming good work, while they impress with line and colour. I spoke before of effort and pretence; such an example you will find in Hiroshi Yoshida's canvases, big or small, most of them being nature studies. (By the way, this Yoshida is the artist who exhibited two great canvases, called "Unknown," or "World of Cloud," painted doubtless from Fuji mountain, overlooking the clouds at one's feet, and "Keiryu," or "The Valley," at the Government exhibition with some success some years ago.) I am ready to admit that the artist has well brought out his purpose, but the true reality is not only the outside expression. His pictures are executed carefully; but what a forced art! This is the age when all Japanese artists, those of the Japanese school not excepted, are greatly cursed by objectivity. Some one has said that the Japanese dress, speaking of Japanese woman as a picture, does serve to make the distance greater. I thought in my reflection on art that so it is with the Japanese art. And again how near is Western art, at least the Japanese work of the Western school! Such a nearness to our feeling and mind, I think, is hardly the best quality of any art. I have ceased for some time to expect anything great or astonishing from Wada or Okada or even Kuroda; we most eagerly look forward to the sudden appear-
