photographers such as Felice Beato also introduced the pictorial arts to Britain, and alongside the imports of new woodblock prints, became fashionable objects to own and discuss in artistic and academic circles. Glass ware was also influenced by Japanese art and the 'Frog decanter' exhibited by Thomas Webb at the International Exhibition in Paris 1867 is in its subject, simplicity and asymmetry the earliest example of Japanese influence on English glass identified to date. Certainly by 1867, Edward William Godwin and Christopher Dresser had become aware of Japanese art objects, particularly Japanese woodblock printing styles, forms and colour schemes. Further interest was taken by the British government on the collection of Washi paper for the V&A when the like was collected on masse for exhibition in London, collected by Harry Parkes between 1867 and 1868. Influenced by Whistler and a love of historical painting styles, Moore blended the aesthetical vernacular of Greek and Japanese using the Art for Art's sake Japanese decorative and aesthetical style, seen in Moore's 1868 painting Azaleas, which 'reconciled the arts of Japan and Greece, and the aesthetic and classical, in a new Victorian combination'. Whilst Whistler certainly influenced the popularity of Japanese art, he often butted heads with other collectors on Japanese art, frequently butting heads with the Rosetti Brothers on the collection of Ukiyo-e and Japanese woodblock prints. Dante saw the refinement of line in Japanese arts as having "nothing to ask of European attainment or models; it is an integral organism ... [being in its accuracy and finesse] more instinctive than the artists of other races." Whereas Whistler drew on the French ideal of l'art pour l'art, and that Japanese art d'object where simply there with 'no social message, no commitment, no reason to exist except to be beautiful'. By 1869, Godwin, not only having involved living with Japanese intereriors in his home in Harpenden with Ellen Terry, had begun to design in the early incarnation of Anglo-Japanese design at Dromore Castle in Limerick, Ireland in the Gothic and Japanese style. 1870–1879: Influence and Imitation Early in the decade, the Watcombe pottery in Devon produced unglazed terracotta wares, some of which rely entirely on Japanese forms and the natural colour of the clay for their ornamental effect. Japanese inspired porcelains by the Worcester porcelain factory at a similar date were much admired by the Japanese themselves. In 1870, Japanese pottery began to influence