is full of allusion and suggestion to one who reads the thought in its symbol. Bronzes, porcelain, ivory, crystal, embroidery, bristle with poetic or mythic allusion. The artist of Japan pours upon his work a prodigality of symbolism, which to the average Occidental mind is dumb or enigmatic. With some knowledge of the groundwork of their mythology, history and the aspects of nature, much of their art and symbolism may be understood. Like all the sets of symbols peculiar to particular nations or civilizations, the art-radicals or basic stock of ideas are few, yet these are expressed in numberless forms and combinations. To that phase of the illustrations and interpretation of the folk-lore of Japan, as well as to its increasing literature, we invite all those who enjoy the study of the Japanese mind as it blossomed out in days long distant from ours. In general, it may be said, that the forms which folk-lore take are the witnesses of processes of thought which are outlived, and which have emerged into higher and nobler methods of illustration and reasoning; but in the progress of the race these steps in advancement are not to be ignored. Apart from the utility and value of folk-lore study, is the enjoyment which comes to the student; and to that enjoyment, as especially furnished in this World's Columbian Exposition, we invite you all.
