transcends the life of Japanese art, yet has
the nimble touch of Japanese incident. In
passing, a charming comparison may be made
between such portraiture and the aspect of an
aspen or other tree of light and liberal leaf;
whether still or in motion the aspen and the
free-leafed poplar have the alertness and ex-
pectancy of flight in all their flocks of leaves,
while the oaks and elms are gathered in their
station. All this is not Japanese, but from
such accident is Japanese art inspired, with its
good luck of perceptiveness.

What symmetry is to form, that is repetition
in the art of ornament. Greek art and Gothic
alike have series, with repetition or counter-
change for their ruling motive. It is hardly
necessary to draw the distinction between
this motive and that of the Japanese. The
Japanese motives may be defined as unique-
ness and position. And these were not known
as motives of decoration before the study of
Japanese decoration. Repetition and counter-
change, of course, have their place in Japanese
ornament, as in the diaper patterns for which
these people have so singular an invention,
but here, too, uniqueness and position are the
principal inspiration. And it is quite worth

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