952, Mr. John O. Pelton on 
thorn pattern, now so popular, is simply the blossom of the 
“‘ume.’”’ It is frequently portrayed in lacquer, where it may be 
recognised by its peculiarly angular and spiky habit. 
The fir tree appears in Japanese art in its natural habit 
of growing. In almost all cases it is introduced by the 
Japanese artist as the emblem of long life and prosperity, and 
as such it is frequently associated with bamboo, crane, and 
tortoise, all of which are accepted emblems of longevity and 
happiness. 
The bamboo, emblem of uprightness and usefulness, is much 
used by artists for ornamental purposes. For narrow up- 
right spaces nothing can be more artistic; a few jointed stems 
with an occasional leaf or two, and with a deftly drawn bird in 
flight, make one of those compositions which the mind will 
ever associate with the nature-loving and painstaking artists of 
Japan. 
The animal kingdom is well represented in Japanese art, but 
in lacquer not so frequently as the vegetable. Their best efforts 
are with birds and fishes ; with animals, monkeys excepted, they 
are not uniformly successful. The favourite bird is the crane, 
of which there is more than one variety ; they are considered 
sacred, and their slaughter is forbidden. From its supposed 
long life it is considered emblematical of longevity, and the white 
crane of purity. Nothing can exceed the skilful rendering of 
the bird in Japanese art. Falcons, eagles, ducks, peacocks, 
geese, and fowls are all portrayed more or less in lacquer; it is 
seldom indeed that the artist fails to depict them in realistic 
forms. 
Of quadrupeds, the horse, fox, badger, and monkey are per- 
haps the most frequent; while others, such as oxen, deer, bears, 
dogs, rabbits, cats, rats, &c., although to be found depicted in 
lacquered objects, are more generally found in carvings, metal 
work, &. Many of these animals, more particularly the fox and 
the badger, figure in fairy tales and folk-lore, endowed as a rule 
with human attributes. 
The Japanese are proud of the belief that they were originally 
a race of fishermen; they invariably accompany their presents 
with a piece of dried fish. Their extensive seaboard yields a 
great variety of fish, crustaceans, and marine animals, but, 
although they are frequently depicted in Japanese art, I do not 
find them much in evidence in lacquer. 
In the delineation of mythical animals and birds, the Japanese 
artists show to great advantage. In birds, the ‘‘ ho-ho”’ with its 
gorgeous plumage occupies the premier position. I do not find 
it frequently in lacquer, and therefore give it but a brief notice. 
The same remark applies to the dragon, kylin, and the conven- 
tional lion, for the best examples of which, especially the former, 
