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+The Project Gutenberg EBook of Japanese Colour-Prints and Their Designers
+by Frederick Gookin
+
+
+
+This eBook is for the use of anyone anywhere at no cost and with almost no
+restrictions whatsoever. You may copy it, give it away or re-use it under
+the terms of the Project Gutenberg License included with this eBook or
+online at http://www.gutenberg.org/license
+
+
+
+Title: Japanese Colour-Prints and Their Designers
+
+Author: Frederick Gookin
+
+Release Date: May 25, 2013 [Ebook #42811]
+
+Language: English
+
+Character set encoding: UTF‐8
+
+
+***START OF THE PROJECT GUTENBERG EBOOK JAPANESE COLOUR-PRINTS AND THEIR DESIGNERS***
+
+
+
+
+
+                   [HARUNOBU. Lovers walking in Snow.]
+
+                    HARUNOBU. Lovers walking in Snow.
+
+
+               Japanese Colour-Prints and Their Designers
+
+A Lecture Delivered Before the Japan Society of New York on April 19, 1911
+
+
+
+
+
+                       By Frederick William Gookin
+
+
+
+
+New York
+The Japan Society
+
+1913
+
+
+
+
+
+CONTENTS
+
+
+JAPANESE COLOUR-PRINTS AND THEIR DESIGNERS
+CATALOGUE OF A LOAN COLLECTION OF JAPANESE COLOUR-PRINTS
+   INTRODUCTION
+   CATALOGUE
+
+
+
+
+
+ILLUSTRATIONS
+
+
+HARUNOBU. Lovers walking in Snow.
+MORONOBU.  Nobleman and two Ladies at Seashore.
+KIYOMASU. Actors’ Boating Party
+MASANOBU. Geisha playing Samisen.
+TOYONOBU.  Actor reading Letter
+KIYOMITSU. Daimyo Procession Game.
+HARUNOBU. Young Woman before Torii.
+HARUNOBU.  The Sleeping Elder Sister.
+HARUNOBU.  The Sleeping Elder Sister.
+HARUNOBU.  The Sleeping Elder Sister.
+HARUNOBU.  Woman reading Letter.
+KORYUSAI.  Musume leaping from Temple Balcony.
+SHUNSHO.  Woman in Red.
+KIYONAGA.  Holiday Group at Gotenyama.
+KIYONAGA. Picnic Party.
+BUNCHO.  Actor as Woman talking to Men.
+KIYONAGA. Man and two Women approaching Temple.
+SHUNCHO.  Women watching Girls bouncing Balls.
+EISHI. Fête in a nobleman’s palace.
+SHARAKU. Two Actors.
+UTAMARO. Woman with a Musical Toy.
+TOYOKUNI.  Women in Bath House.
+HOKUSAI.  Fuji from Ushibori.
+HIROSHIGE.  Pines at Hammamatsu.
+
+
+
+
+
+
+JAPANESE COLOUR-PRINTS AND THEIR DESIGNERS
+
+
+In the annals of art production the colour-prints designed by the master
+artists of the Ukiyoé school occupy a unique place. They represent a
+plebeian art which was not a spontaneous upgrowth from the soil, but, so
+to speak, a down-growth or offshoot from an old and highly developed art
+of aristocratic lineage.
+
+This elder art had its fountain-head in ancient China. That country,
+during the Tang and the Sung dynasties (618-905, 960-1280), was the seat
+of an aesthetic movement during which painting and other arts reached an
+extraordinarily high development. To the works produced during this great
+flowering-time of art the Japanese painters of the classical schools
+turned for inspiration and enlightenment. These works were distinguished
+by singleness of purpose, rhythmic vitality, and synthetic coherence, and
+by a clear conception of the essential that goes far beyond anything
+elsewhere attained, and which, when fully apprehended, must inevitably
+force a revision of Western ideas and criteria.
+
+The art of ancient China and of the earlier Japanese schools is an art
+refined, poetic, and intensive to the last degree. It is based upon
+profound understanding of aesthetic laws. The artists were carefully
+grounded in the fundamental principles that govern all art, whether
+Oriental or Occidental. The result of this training is apparent in the
+homogeneity of their works. In Europe very confused notions have prevailed
+as to what should be done and what is permissible in art. Not even the
+great artists have always seen clearly; had they done so, it cannot be
+doubted that Western achievement would have attained a much higher level
+than it has ever reached.
+
+In the Japanese modifications of the ancient Chinese art its traditions
+and aesthetic ideals were sedulously preserved. With only rare exceptions,
+the artists—and under this head it is necessary to include potters,
+lacquerers, metal-workers, swordsmiths, and others—were drawn from the
+upper classes. Many of them were in the service of the daimyo, and did not
+sell their productions, but received from their noble patrons regular
+stipends in koku of rice. Seldom did any of their works find their way
+into the hands of the common people, who had little opportunity,
+therefore, to become familiar with them. Gradually, however, as the number
+of paintings, statues, and other art objects multiplied and the temples
+were filled with votive offerings, the classical art made its impress upon
+buildings, wearing apparel, and utensils of all sorts; its conventions and
+principles were laid hold of by all classes and became the heritage of the
+entire people.
+
+            [MORONOBU.  Nobleman and two Ladies at Seashore.]
+
+             MORONOBU.  Nobleman and two Ladies at Seashore.
+
+
+The social fabric in old Japan was one of sharp distinctions. At the upper
+end of the scale were the Emperor; the kuge, or court nobles; the daimyo,
+or lords of the two hundred and fifty-one provinces; and the samurai, or
+hereditary military men, from whom were recruited the officials, priests,
+and scholars. Between these and the lower classes was an almost
+immeasurable gulf. Highest among the heimen, or commoners, were the
+farmers. Below them were the artisans, and still lower were the merchants,
+innkeepers, servants, and the like; while lowest of all were the eta, or
+outcasts, a class comprising scavengers, butchers, leather-workers, and
+others engaged in what were considered degrading occupations.
+
+Under the peaceful regime of the Tokugawa shoguns there was a sociological
+change that in the cities almost amounted to a transformation. The most
+salient feature was the rise of the tradesmen and artisans to wealth and
+power. Many places of amusement sprang up, restaurants and tea-houses
+multiplied, jugglers, story-tellers, musicians, and other itinerant
+entertainers found audiences in every street, fêtes were frequently held
+in the temple compounds, the theatre rose to a position of prominence, and
+the yukwaku, or courtesan quarters, with their medley of attractions,
+became established institutions.
+
+The art of the Ukiyoé was a direct outcome of the gay life of this time.
+The inception of the school dates back to the closing years of the
+sixteenth century, when a reaction set in against the Chinese classicism
+of the Ashikaga period. This manifested itself in the choice of Japanese
+instead of Chinese subjects, and in novel treatment in which features of
+both the classic Kano and Tosa styles were combined, but which in many
+respects broke away from academic traditions. The reputed leader of the
+revolt was Iwasa Shoi, better known as Matahei, son of the Daimyo of
+Itami; but other distinguished artists, notably Kano Sanraku, also painted
+pictures in the new manner, which was not then held to constitute a
+distinct school. The subjects being drawn from the life of the people,
+these pictures were called Ukiyoé. É is the Japanese term for a picture or
+drawing.(1) Ukiyo, as originally written, had a Buddhistic signification
+and was applied to the secular as distinguished from the ecclesiastical
+world. Literally the word means “the miserable world,” but as now used it
+may be more accurately translated as “the passing (or floating) world of
+every-day life.”
+
+Perhaps for the reason that Ukiyoé themes were not considered quite
+dignified, and because they did not express poetic ideas, the Ukiyo
+paintings of Matahei and his contemporaries and successors, though prized
+and much sought after, were seldom signed, and the identification of their
+authorship is a matter of extreme difficulty. For more than half a century
+works in this manner continued to be produced in considerable numbers, but
+the movement did not crystallize into a school until, in the person of
+Hishikawa Moronobu, a leader appeared to give it form and direction.
+Moronobu was an artist of rare distinction. His paintings were eagerly
+sought by the daimyos and the wealthier samurai. But Moronobu was a man of
+the people, and it was as a designer of book illustrations and later of
+ichimai-yé, or single-sheet prints, that he gave the impetus to Ukiyoé.
+For fifty years or more prior to his time books with engraved
+illustrations had been published in Japan, but they were comparatively few
+and the illustrations were poor and crudely executed. The twelve drawings
+Moronobu made for a book of instruction for women in etiquette and
+hygiene, published in 1659, marked a decided advance. This, so far as we
+know, was the first of a long series of books illustrated by him. Their
+popularity was deservedly great, and by them his fame became wide-spread.
+The illustrations were printed in black from blocks similar to those from
+which the text was printed, and were characterized by fine broad treatment
+and a rather wiry but strong and expressive outline.
+
+About 1670 Moronobu began to issue large single-sheet prints which could
+be affixed to screens or mounted as kakemono. These prints, which were
+impressions in black from one block only, are known as sumi-yé—_sumi_
+being the Japanese name for Chinese—or, as we incorrectly call it,
+India—ink. They were designed to be coloured by hand, and apparently a
+part of the edition was so coloured before being placed on sale by the
+publishers. At first this colouring consisted of a few touches of
+yellow-green crudely laid on; later it became more elaborate, and
+occasionally we meet with prints that are very beautifully coloured, but
+in such cases it is impossible to tell when or by whom the colouring was
+done. The probability is that in some instances it was the work of
+purchasers of the prints.
+
+Moronobu’s pupils, of whom there were many, devoted themselves almost
+exclusively to painting. After his death in 1695, the production of prints
+fell chiefly into the hands of Torii Kiyonobu and his son Torii Kiyomasu,
+two artists who take rank among the most talented men of the Ukiyoé
+school. Moronobu had taken for the subjects of his prints historic
+incidents, the manners and customs of the people, and, in particular,
+women and their occupations and amusements. To these the Torii artists,
+seeing a new and fertile field for the print-designer in the rise of the
+theatre as a popular form of entertainment, added portraits of actors in
+the costumes of their most admired rôles. Especially esteemed were
+Kiyonobu’s portraits of the first DanjuÌroÌ. During the Genroku period
+(1688-1704) the people developed a passion for the theatre that amounted
+to veritable madness. In the first quarter of the eighteenth century this
+reached a height that sorely troubled the Tokugawa rulers. To check it
+various expedients—among them the exclusion of women from the stage—were
+tried. They only added fuel to the flame. Certain gross practices were
+abolished. This helped to purify the theatre, but also to perpetuate it by
+removing the seeds of what must inevitably have meant its early decay.
+Actors of distinguished ability became popular idols. Their comings and
+goings were like royal progresses. Wherever they went, were it to view the
+cherry blossoms at Ueno, for a boating party on the river, or for a visit
+to the Yoshiwara, they moved in state. Yet their rank in the social scale
+was so low that they were looked upon as little better than eta. The
+earliest actors were contemptuously termed _kawara-mono_ (river-bed folk),
+from the fact that the first theatrical performances in Japan were upon a
+stage erected in the dry bed of the Kamogawa at Kyoto. The stigma that
+attached to their origin and to the vulgarity of the early performances
+has never been entirely lifted. Many of the Ukiyoé artists felt it a
+degradation to make drawings of actors. Nevertheless the popular demand
+created a supply, and for more than a century a large proportion of the
+enormous output of prints consisted of theatrical scenes and portraits of
+the performers.
+
+                    [KIYOMASU. Actors’ Boating Party]
+
+                     KIYOMASU. Actors’ Boating Party
+
+
+Many of the prints produced during the early years of the eighteenth
+century were large single figures of actors, geishas, and women of the
+Yoshiwara. These were broadly treated, with strong, free brush-strokes
+based upon the technique of the Kano masters and quite different from
+Moronobu’s style, which was more nearly like that of the Tosa painters.
+Each of the classical schools, I may explain, had its own peculiar
+methods, for which brushes of special shape were required. In their
+spontaneity, their freedom, their glorious sweep of line, these prints are
+among the finest works of the Ukiyoé school. Among them are many
+masterpieces of linear composition. Yet by the people of the upper classes
+they were regarded as hopelessly vulgar. Though the Kano painters used
+similar sweeping strokes, they laid great stress upon carefully modulated
+tone. The notan, or lightness and darkness of the ink in different parts
+of the drawing, was an essential quality. It should not be confused with
+chiaroscuro, the science of light and shade. Notan signifies merely
+difference in lightness and darkness of tone. In the early prints this did
+not appear. All the lines were uniformly black. And the addition of
+colouring which was looked upon as coarse and gaudy was a further offence
+to persons of refined taste.
+
+Our vision not being hampered by the canons of the Kano academy, we can
+appreciate the distinguished character of these compositions.
+Unquestionably the brush-work of a Sesshu, a Motonobu, or a Tanyu—to name
+a few only of the most eminent of the Japanese painters—has a precious
+quality not to be found in any printed line.(2) Nevertheless the primitive
+Ukiyoé prints have a freshness and vital force peculiarly their own. The
+word “primitive” as applied to these prints calls for a word of
+explanation. They are primitive, not in their art, which is highly
+developed, but merely as regards its application to wood-engraving.
+
+The failure of Japanese connoisseurs to appreciate Ukiyoé art is not,
+however, entirely or even principally because of its technique. The art of
+the classical schools is deeply imbued with poetic feeling and usually is
+dignified in subject. Ukiyoé art, on the contrary, is flippant, whimsical,
+comic. Except when it deals with portraits, landscapes, or birds and
+flowers—subjects that are not strictly Ukiyoé—it is seldom that the things
+depicted are intended to be taken quite seriously. In nearly every picture
+there is some joke, open or cleverly hidden, some amusing fantasy in the
+shape of a modern analogue or travesty of popular myth, well-known tale,
+or historical event. Sly hits at the vices or follies of the aristocrats
+are not uncommon. A very large proportion of the subjects deals with the
+theatre and the denizens of the Yoshiwara. To the Japanese of the upper
+classes Ukiyoé art was a synonym for the art of the underworld. It is not
+surprising that they failed to appreciate its merit. To give Ukiyoé
+paintings or prints an honourable place in one’s house was a confession of
+lack of taste. Were there no other reason, the subjects for the most part
+rendered them unfit, if not impossible. The prints were indeed amusing,
+and therefore many of them were saved; but they were looked upon much as
+we regard the pictures in our comic periodicals. Even when the art in
+these is good, it is hard to disassociate it from the humour and to enjoy
+it for itself alone. More commonly we fail to appreciate it as art or even
+to think of it as such. So it was with the prints. To the Japanese they
+appeared little better than children’s toys. In considering this we should
+not overlook the important circumstance that when first printed they were
+in general less charming than they are to-day. The wonderful colour that
+makes them so entrancing has come in large measure through the mellowing
+influence of time. Not infrequently this has wrought transformations that
+would seem incredible did not close study show clearly the changes that
+have taken place.
+
+                   [MASANOBU. Geisha playing Samisen.]
+
+                    MASANOBU. Geisha playing Samisen.
+
+
+Even to-day inherited prejudice prevents wide-spread appreciation of the
+prints in the land of their origin. Our enthusiastic admiration is still
+more or less a mystery to our neighbours across the Pacific. Only now,
+when most of the fine prints have passed into the hands of European and
+American collectors, are the Japanese connoisseurs beginning to understand
+how it is that the Western art-lover, unfettered by any traditional point
+of view and not disturbed by any meanings the subject may hold or suggest,
+is able to perceive the glorious colour, the superb composition, the
+masterly treatment and rare beauty to which they have been blind.
+
+The history of art is everywhere among civilized peoples a record of the
+influence of a succession of ideas, each in turn dominating for a longer
+or a shorter period the character of what is produced. When an idea has
+sufficient vitality to constitute the germ of a specific type of art, and
+artists of creative genius are inspired by it, the votaries working under
+the stimulus of a common ideal form what we designate as a school. “When
+left to pursue its course of development unchecked,” each marked type of
+art, as John Addington Symonds pointed out in one of his essays, “passes
+through stages corresponding to the embryonic, the adolescent, the
+matured, the decadent, and the exhausted,” This sequence, he showed, was
+clearly marked in the evolution of Italian painting, the Attic and the
+Elizabethan drama. Any of the classic schools of Japanese painting, the
+Kosé, the Yamato, the Sesshu, or the Kano, would furnish an excellent
+illustration, though in studying these movements it would be necessary to
+follow them back to their Chinese antecedents. The Ukiyoé school affords a
+particularly striking example. In the works of the earlier
+artists—Moronobu, Kiyonobu, Kiyomasu, and the KwaigetsudoÌ group—we find
+superabundant vigour, swift inspiration, and splendid though sometimes
+brutal force. The note of prophecy that these works contain is found also
+in those of the next generation of artists, foremost among whom was
+Okumura Masanobu. The fire of enthusiasm still glows brightly, but more
+attention is paid to subtleties of style, to beauty of detail, and to the
+development of technical processes. Hand-coloured prints are superseded by
+those in which the colour as well as the black outline is printed. Ukiyoé
+has become an art of the printed pictures which in large measure have
+taken the place of paintings.
+
+Then, after a brief interval of eager experiment and rapid changes, comes
+the flowering-time, when a group of great artists turn out by the thousand
+works in which spiritual intensity is combined with grace, beauty,
+refinement of composition, and technical perfection. This is the epoch of
+Harunobu, ShunshoÌ, Shigemasa, Koryusai, Kiyonaga, and ShunchoÌ.
+
+The decline of the initial impetus that brought the school into being is
+plainly apparent in the works of the next generation. Utamaro was an
+artist of the very first rank, whose genius cannot be gainsaid; Eishi and
+Toyokuni were only a little less brilliant; but it was their misfortune to
+come upon the scene when the cycle of animating ideas had been exhausted.
+Too virile to be content merely to echo the performances of their
+predecessors, they spent their energy in inventing variations upon the
+perfected type. It was the only course open to them, but it led steadily
+and swiftly downward, though neither the artists nor the people who
+gleefully applauded each successive innovation were conscious of the
+decadence.
+
+With the appearance of still another generation of artists upon the scene,
+the degradation of the school was complete. Artistic feeling was obscured
+by blatant vulgarity and affectation. There was a steady letting down to
+the level of the popular taste, which was steadily lowered in consequence.
+The skill of the more able artists was expended in the production of works
+interesting chiefly as _tours de force,_ more remarkable for technical
+than for artistic merit; the tendency toward exaggerated drawing became
+more pronounced; colouring grew more crude, raw, and over-vivid.
+Coincident with this decline in the art of the Popular School was a change
+for the worse in the fashions of the time. Loud patterns for brocades and
+other fabrics came into vogue; garments became showy and elaborate;
+coiffures, more especially those of the demi-monde, were often startling
+in their extravagance. As the prints were accurate mirrors of contemporary
+life, in these changed fashions may be found a partial explanation of the
+inferiority of the works of the later men. The Ukiyoé RyuÌ was a school of
+design which laid its impress upon all of the arts. The prints were but
+one of its phases, though the principal and the most distinguished of
+them. The rise, culmination, and disintegration took place all along the
+line. Toward the middle of the nineteenth century the Ukiyoé school sank
+into the dotage of decrepitude, and then into the sleep from which there
+is no awakening. I choose this phrase deliberately. An art that is of the
+past can never be revived. We may strive to work in the style of Harunobu
+or of Kiyonaga. All we can do is to copy their forms and imitate their
+mannerisms. We cannot possibly get our inspiration from the same source as
+they; that dried up at the fountain-head long ago. The best work we can do
+in their style must necessarily lack creative force and be without a spark
+of real vitality.
+
+Primarily the charm of the Ukiyoé colour-prints is due to the fact that
+the leading masters of the school were artists of exceptional power. It is
+also due to the fact that most of them(3) made print-designing their chief
+occupation, to which they devoted their thought, time, and skill, and that
+with rare exceptions they were less distinguished as painters.
+
+                    [TOYONOBU.  Actor reading Letter]
+
+                     TOYONOBU.  Actor reading Letter
+
+
+From about 1670, when Moronobu began to issue single-sheet prints, until
+about 1742, a period of at least seventy years, the prints were in black
+outline and were coloured by hand. They were, in fact, cheap paintings.
+Early in the eighteenth century the chief pigment used in colouring them
+was red lead. The Japanese name for this pigment is tan, and the prints
+upon which it appears are designated as tan-yé. About 1710 yellow and
+citrine were commonly used with the tan. Four or five years later a new
+style of hand-colouring, said to have been devised by Torii Kiyonobu, came
+into vogue and greatly modified the style in which the prints were
+designed. In place of tan he substituted beni, a very beautiful but
+fugitive red extracted from the saffron. This was used in combination with
+a greenish yellow (probably gamboge) and low-toned blues and purples.
+Finer details were introduced into the designs, and the colouring in
+general was more carefully done. In response to a growing demand for less
+expensive pieces smaller prints (hoso-yé) became common. To give
+brilliance to the pigments a little thin lacquer (urushi) was mixed with
+them, and, while wet, parts of the design were sprinkled with metallic
+powder, which was probably applied by blowing it through a small bamboo
+tube. These prints were known as urushi-yé, or lacquer prints. A little
+later the custom grew up of painting parts of the prints with black
+lacquer.
+
+Not until the year 1742 did the practice begin of applying colour by
+impressions from flat wood blocks. Why the invention should have been so
+long delayed, and why, after it was once made, nearly fourteen years more
+should have elapsed before the number of colour-blocks was increased
+beyond two, are questions to which no certain answer is yet forthcoming.
+It is incredible that during the forty years when innumerable
+hand-coloured prints were issued no one should have conceived the idea of
+printing the colour as well as the black outline. Without doubt some
+practical difficulty connected with the printing stood in the way.
+Possibly the thing that awaited discovery was the trick of mixing rice
+paste with the colour to keep it from running. Or, as is more likely, it
+took a long while to discover a practical method of securing accurate
+register in impressions made upon damp paper which was liable to stretch
+or shrink during the printing process. Whatever the problem may have been,
+the honour of the solution is due to Okumura Masanobu. Being a publisher
+as well as an artist, he was no doubt alive to the economic advantage of a
+cheaper process and to the attraction of novelty. Some years earlier he
+had invented the hashira-yé, or pillar-print, and had also put forth a
+series of prints that show a fair understanding of the laws of linear
+perspective to which he gave the name of Ukiyé. Being an artist as well as
+a publisher, Masanobu perceived that the change in process called for a
+change in the style of the designs. The very first of the new prints,
+therefore, were characterized by finer and more exquisite detail than was
+suitable for the hand-coloured editions. The colours used were beni and a
+soft green; and the name beni-yé, which had been applied to the
+hand-coloured prints in which beni was used, was also given to them. A
+happier selection of colours could not have been made. By thinning the red
+and modifying the hue of the green a wide range of effects was secured.
+Almost every possible combination and variation was tried during the
+fourteen or fifteen years that the beni-yé were in vogue. The world is far
+richer because of this long period before the number of colour-blocks was
+increased, since time was afforded to work out the decorative
+possibilities resulting from the limitation to two colours and black and
+white. This limitation demanded fine skill and creative resource in the
+invention of pattern and the distribution of the colours employed.(4) The
+results achieved were remarkable. Until one has seen them it is impossible
+to realize that so much life and vivacity of colouring could be given by
+impressions from two blocks charged with rose and green.
+
+                   [KIYOMITSU. Daimyo Procession Game.]
+
+                    KIYOMITSU. Daimyo Procession Game.
+
+
+By many the beni-yé are regarded as the choicest products of the school.
+So charming were they when first printed that they speedily drove the
+urushi-yé prints out of the market, with the exception of the tall
+hashira-yé, or pillar prints, of which hand-coloured editions continued to
+be produced for a year or two, to satisfy those who still wished paintings
+rather than prints. Most of the beni-yé that have survived until our time
+are very much faded. The beni has quite generally turned into a soft
+yellow or disappeared altogether. The green is more stable, but that also
+has in many instances become a warm citrine or russet. Extremely rare are
+the specimens in which the original colour has not suffered material
+modification.
+
+From the testimony of the prints themselves it appears probable that very
+soon after Okumura Masanobu issued the first prints in beni and green,
+similar prints were put forth by Nishimura Shigenaga, Ishikawa Toyonobu,
+Torii Shiro (otherwise Kiyonobu the second), and all the Yedo
+print-designers, among them the veteran Torii Kiyomasu. None of these men
+seems to have attempted any marked departure from the type established by
+Okumura. About 1755, however, a group of young men appeared upon the
+scene, who were fired with zeal for further experiments. The leaders were
+Torii Kiyomitsu, Kitao Shigemasa, and Suzuki Harunobu. Kiyomitsu began by
+trying novel colour schemes such as two tones of beni instead of beni and
+green. Then he tried a third colour-block. After this new developments
+followed in rapid succession. The variety and range of the colour schemes
+broadened almost from day to day. At first the wider resources proved an
+embarrassment, but the mastery attained in dealing with the simpler means
+soon enabled the artists to take advantage of them. Invention was
+stimulated. In 1764 a printer named Kinroku discovered a method by which
+printing in colours from many blocks became possible. We can only guess at
+the nature of the difficulty that was surmounted; but as it is known that
+the printing was usually done upon dampened paper, it is evident that the
+stretching or shrinking of the sheets, to which I have already referred,
+must have proved extremely troublesome, and that every additional block
+must have multiplied the liability to defective register. It is reasonably
+safe to assume, therefore, that to find some means of overcoming this was
+the problem which remained unsolved for so many years.
+
+                  [HARUNOBU. Young Woman before Torii.]
+
+                   HARUNOBU. Young Woman before Torii.
+
+
+The name of Suzuki Harunobu is familiar to every admirer of Japanese
+prints. It is in large measure to his genius that the development of
+full-colour printing is due. He was not only the first artist to make use
+of the new process, but he took advantage of it to bring out prints of a
+novel type. Very dainty and graceful these were, and in the poetic
+allusions or quiet humour with which they were charged, and in the quality
+of the brush-strokes with which the drawings were executed, they made a
+direct appeal to men of taste. Success was instantaneous. By the year 1765
+Harunobu had come to the front and distanced all competitors for popular
+favour. The serenity and compelling charm of his compositions brought him
+wide fame. Realizing the possibilities that now lay before him, he proudly
+exclaimed, “Why should I degrade myself by the delineation of actors?” His
+ambition, he said, was to become “the true successor of the painters in
+the department of printing”; that is to say, to design prints that should
+be worthy substitutes for paintings. Instead of restricting himself to a
+few primary or secondary hues and the variations resulting from their
+superposition, he mixed his colours to get the precise tint desired, and
+he used as many colour-blocks as were needed for the effects at which he
+aimed. The Yedo-yé, or Yedo pictures, as the prints had been called from
+the fact that they were produced only at the eastern capital, were now
+denominated nishiki-yé, or brocade pictures, from the number of colours
+woven together in them. To the printing itself, the charging of the blocks
+with colour, the character and quality of the pigments and of the paper
+used, Harunobu gave careful attention, and these things were greatly
+improved as a result of his experiments.
+
+Under his leadership the art now entered upon the period of its greatest
+triumphs. In the eager search for novel subjects scarcely anything was
+left untouched. History, mythology, and romance, the numberless fêtes and
+merrymakings of the people and the daily routine of their lives,
+representations of celebrated poets and heroes, scenes from the drama,
+portraits of popular actors and courtesans, the revels of the Yoshiwara,
+animals and plants, familiar scenes and famous landscapes, furnished
+motives for almost endless broadsheets and book illustrations. No other
+art was ever more crowded with human interest.
+
+The forward movement in print-designing at this epoch was helped on by a
+number of highly gifted artists who seem to have worked together to some
+extent. Katsukawa ShunshoÌ, who took up the theatrical branch of
+print-designing that Harunobu scorned, is one of the most distinguished
+masters of the Ukiyoé school. He was a designer of marked power, a
+colourist of the first rank. His works are not yet appreciated as they
+should be, but the finest of them yield pure aesthetic delight of most
+exalted quality. Kitao Shigemasa, Ippitsusai BunchoÌ, and Isoda Koryusai
+also rank among the first-rate men of this period. In the contest for
+popular favour during the ten years following the death of Harunobu, which
+took place in the summer of 1770, it has been said that the guerdon rested
+upon Koryusai, but that is a mistake, for both ShunshoÌ and Shigemasa
+stood higher in the estimation of qualified judges. All, however, were
+surpassed a few years later by Kiyonaga, the last great artist of the
+Torii line and the culminating figure in the history of the Popular
+School. He conquered by the rugged strength and marvellous quality of his
+brush-strokes, by the richness of his colouring and the ripe mastery he
+displayed over all the resources of his craft. But also he created a new
+type of design—that which found expression in the great diptychs and
+triptychs that stand as the triumphs of colour-printing. At the height of
+his power his influence over his contemporaries was so great that, without
+exception, the younger men among them copied his style as closely as they
+could.
+
+When Kiyonaga, about 1793, stopped designing prints, the decadence had
+already set in. The decade that followed was a period of rapid
+deterioration, with Utamaro as its particular evil genius. Yet many of the
+most splendid of the prints were produced in that decade. Where shall we
+look for anything finer than Eishi’s wonderful series with the chocolate
+background, or his triptychs of the Prince Genji series? Where shall we
+find anything to equal the brilliant characterization of Sharaku’s actor
+portraits? Where else shall we turn for such marvellously facile rhythmic
+line, such swift, vital handling as that which made Utamaro’s masterpieces
+the despair of his many imitators? Toyokuni also designed many fine
+prints; but as he was a man of less force than the others I have named, he
+fell faster and farther than they did, and fewer of his works command our
+admiration.
+
+                 [HARUNOBU.  The Sleeping Elder Sister.]
+
+                  HARUNOBU.  The Sleeping Elder Sister.
+
+
+I have left myself little time to speak of two eminent artists, both of
+them world-renowned, who by their genius made the latter years of the
+Ukiyoé school as notable in their way as any in its entire history. Either
+Hokusai or Hiroshige might well engage our attention for an entire
+evening. Both were extraordinarily prolific; Hokusai was the more
+versatile and has the wider reputation. Both are among the greatest
+landscape artists the world has ever known. Their numerous prints of
+landscapes are a revelation of the possibilities of originality in
+composition and variety of interest in this field. Unless one has studied
+these prints in fine examples, it is impossible to realize how great is
+their merit. This is true of all the prints, but particularly true of
+Hiroshige’s. Between the best impressions and the very good ones the
+difference is really astonishing. But the best are so extremely rare as to
+make it probable that because of the difficulty and the cost of printing,
+very few of them were issued—the publishers finding cheaper editions more
+profitable.
+
+Though classed as Ukiyoé artists, Hokusai and Hiroshige really represent a
+separate movement which undoubtedly would have crystallized into a
+distinct school had worthy followers arisen to carry it forward, had the
+times been different, and, last but not least, had the genius of the two
+masters been less transcendent.
+
+In this sketch of the history of the art of Ukiyoé colour-printing only
+the more salient features have been touched upon. Of the prints themselves
+it is not too much to say that the finest of them are the most beautiful
+specimens of printing that have been done in any land at any time.
+
+Yet none but the most primitive methods—or what from our point of view may
+seem such—were employed. The most wonderful among all the prints is but a
+“rubbing” or impression taken by hand from wood blocks. The artist having
+drawn the design with the point of a brush in outline upon thin paper, it
+was handed over to the engraver, who began his part of the work by pasting
+the design face downward upon a flat block of wood, usually cherry, sawn
+plankwise as in the case of the blocks used by European wood-engravers in
+the time of Dürer. The paper was then scraped at the back until the design
+showed through distinctly in every part. Next, the wood was carefully cut
+away, leaving the lines in relief, care being taken to preserve faithfully
+every feature of the brush-strokes with which the drawing was executed. A
+number of impressions were then taken in Chinese ink from this “key block”
+and handed to the artist to fill in with colour. This ingenious plan,
+which is manifestly an outgrowth of the early custom of colouring the ink
+prints (sumi-yé) by hand, and which perhaps would never have been thought
+of had not the colour itself been an afterthought, enabled the artist to
+try many experiments in colour arrangement with a minimum amount of
+labour. The colour scheme and ornamentation of the surfaces having been
+determined, the engraver made as many subsidiary blocks(5) as were
+required, the parts meant to take the colour being left raised and the
+rest cut away. Accurate register was secured by the simplest of devices. A
+right-angled mark engraved at the lower right-hand corner of the original
+block, and a straight mark in exact line with its lower arm at the left,
+were repeated upon each subsequent block, and, in printing, the sheets
+were laid down so that their lower and right-hand edges corresponded with
+the marks so made. The defective register which may be observed in many
+prints was sometimes caused by unequal shrinking or swelling of the
+blocks. In consequence of this, late impressions are often inferior to the
+early ones, even though printed with the same care, and from blocks that
+had worn very little. The alignment will usually be found to be exact upon
+one side of the print, but to get further out of register as the other
+side is approached.
+
+The printing was done on moist paper with Chinese ink and colour applied
+to the blocks with flat brushes. A little rice paste was usually mixed
+with the pigments to keep them from running and to increase their
+brightness. Sometimes dry rice flour was dusted over the blocks after they
+were charged. To this method of charging the blocks much of the beauty of
+the result may be attributed. The colour could be modified, graded, or
+changed at will, the blocks covered entirely or partially. Hard,
+mechanical accuracy was avoided. Impressions differed even when the
+printer’s aim was uniformity. Sometimes, in inking the “key block,” which
+was usually the last impressed, some of the lines would fail to receive
+the pigment, or would be overcharged. This was especially liable to happen
+when the blocks were worn and the edges of the lines became rounded. A
+little more or a little less pigment sometimes made a decided difference
+in the tone of the print, and, it may be noted, has not infrequently
+determined the nature and the extent of the discolouration wrought by
+time.
+
+                 [HARUNOBU.  The Sleeping Elder Sister.]
+
+                  HARUNOBU.  The Sleeping Elder Sister.
+
+
+In printing, a sheet of paper was laid upon the block and the printer
+rubbed off the impression, using for the purpose a kind of pad called a
+_baren._ This was applied to the back of the paper and manipulated with a
+circular movement of the hand. By varying the dampness of the paper and
+the degree of pressure the colour could be forced deep into the paper, or
+left upon the outer fibres only, so that the whiteness of those below the
+surface would shine through, giving the peculiar effect of light which is
+seen at its best in some of the surimono (prints designed for distribution
+at New Year’s or other particular occasions) by Hokusai and his
+contemporaries. Uninked blocks were used for embossing portions of the
+designs. The skill of the printer was a large factor in producing the best
+results. Even the brilliancy of the colour resulted largely from his
+manipulation of the pigments and various little tricks in their
+application. The first impressions were not the best, some forty or fifty
+having to be pulled before the block would take the colour properly. Many
+kinds of paper were used. For the best of the old prints it was thick,
+spongy in texture, and of an almost ivory tone. The finest specimens were
+printed under the direct personal supervision of the artists who designed
+them. Every detail was looked after with the utmost care. No pains were
+spared in mixing the tints, in charging the blocks, in laying on the paper
+so as to get the best possible impressions. Experiments were often tried
+by varying the colour schemes. Prints of important series, as, for
+example, Hokusai’s famous “Thirty-six Views of Fuji,” are met with in
+widely divergent colourings.
+
+The pigments most frequently used were comparatively few, and different
+lots of the same pigment seem to have been far from uniform in hue. As to
+this and some other points upon which we should be glad to have light, no
+very certain information exists. We do not know how soon some of the
+colours began to fade. Internal evidence indicates that in some instances
+the change took place within a comparatively short time, as in the case of
+the lovely blue used by Harunobu and ShunshoÌ chiefly as a colour for sky
+and water. It appears to have been a compound tint formed of blue mixed
+with some other colour to modify its intensity. In the change which
+followed—possibly a chemical one—the blue disappeared in whole or in part,
+leaving in its stead a buff hue having peculiar depth and a soft, velvety
+texture. To our eyes the modified colour is often far more beautiful than
+the original, but the variation, it may safely be asserted, was not
+desired by the artist.
+
+The quality of the colour wrought by these changes explains why it is not
+possible to-day to reproduce the prints successfully. The printing process
+is still in use, and, as the plates in such publications as “Kokka”
+attest, very splendid results are still yielded by it. But some of the old
+pigments cannot now be obtained; and if they could be, we should still
+have to wait long years for time to mellow the prints made with them.
+Indigo can be had, but it is not the same indigo and its colour is not
+quite like the old, which was extracted from blue cloth imported from
+China. Beni can be made, but the secret of the blue added to it to produce
+the divine violet seen in many of the prints has been lost, as has that of
+the precious moss-green used by Utamaro. Many reproductions have been made
+during the last twenty-five years, and some of them are extremely clever;
+but the printing lacks depth, and when placed beside the old works they
+appear dull and lifeless.
+
+Colour-prints were made for many purposes. To some extent they were used
+as advertisements. Incidentally they served as fashion plates. Some were
+regularly published and sold in shops. Others were designed expressly upon
+orders from patrons, to whom the entire edition—sometimes a very small
+one—was delivered. The number struck from any block, or set of blocks,
+varied widely. Of the more popular prints many editions were printed, each
+one, as might be expected, inferior to those that preceded it. Not
+infrequently the Yedo publishers removed from their out-of-date blocks the
+marks showing their imprint, and sold them to publishers in Osaka and
+Nagoya, by whom poor and cheap editions were issued. Eiraku-ya of Nagoya,
+in particular, is said to have bought many old blocks, some of which were
+revamped in various ways before being reprinted.
+
+                 [HARUNOBU.  The Sleeping Elder Sister.]
+
+                  HARUNOBU.  The Sleeping Elder Sister.
+
+
+In a number of instances, when blocks had worn out or had been
+accidentally destroyed in the fires by which Yedo was ravaged, the artists
+were called upon to make new drawings of the same subjects. Usually, in
+such cases, the second design differed very little from the first, save in
+such details as the patterns upon the garments of the figures and the
+styles of hair arrangement, which invariably reflected the current mode.
+Kiyonaga’s “Iris Garden” and his well-known triptych “Ushiwaka Serenading
+Jorurihime” are notable examples of this practice. Two designs of each of
+these were issued, the intervals between the appearance of the first and
+second being, in each instance, about three or four years. For the later
+editions of many of the prints designed by Harunobu changes were made in
+the blocks, and the number was sometimes increased and sometimes
+decreased. After his death re-engravings of a number of his prints appear
+to have been made, as well as forged works in imitation of his style to
+which his name was attached.
+
+Most of the prints were sold at the time of publication for a few sen. The
+finer ones brought relatively higher prices, and such prints as the great
+triptychs and still larger compositions by Kiyonaga, Eishi, Toyokuni,
+Utamaro, and other leading artists could never have been very cheap. In
+general, however, the price was small and they were regarded as ephemeral
+things. Many were used to ornament the small screens that served to
+protect kitchen fires from the wind, and in this use were inevitably
+soiled and browned by smoke. Others, made into kakemono or mounted upon
+the sliding partitions of the houses, perished in the fires by which
+Japanese cities have been devastated; or, if in houses that chanced safely
+to run the gauntlet of fires, typhoons, cloudbursts, and other mishaps,
+their colours faded and their surfaces were rubbed until little more than
+dim outlines were left. These lost prints include a very large proportion
+of those that were most beautiful, and especially of those having
+inoffensive subjects.
+
+Fortunately, though the upper classes did not consider the prints as works
+of art, that did not prevent them from buying them for the entertainment
+they afforded. The samurai, though they considered it degrading to take
+part in the amusements of the lower classes and affected to despise the
+vulgarity of the theatre, sometimes attended the performances in disguise.
+And when they returned to their home provinces with their feudal lords
+after the six months of every year spent in the capital, they usually
+carried with them large quantities of prints. Country people visiting Yedo
+rarely returned without taking many of these cheap souvenirs of the city
+to distribute among their neighbours. Of course many were destroyed, but
+the Japanese have always been accustomed to take care of their
+possessions, and so many thousands of prints were neatly packed away in
+boxes and placed in the kuras, or fireproof storehouses. There they were
+often spoiled by mildew, the dread foe of the Japanese housewife, and
+eaten by insects. Those pasted in albums, as were many of the noted series
+by Hokusai and Hiroshige, fared better than the loose ones.
+
+                    [HARUNOBU.  Woman reading Letter.]
+
+                     HARUNOBU.  Woman reading Letter.
+
+
+Thus it has come about that in spite of the enormous number printed,
+really choice specimens are very rare. Of many of the most important only
+two or three copies in good condition are known. Even at the time of their
+issue the number of those in what may be called the “proof” state could
+not have been large. The best printing, as has already been pointed out,
+was not only difficult and relatively expensive—perhaps prohibitively
+expensive in many instances except for a small number of impressions—but
+when the blocks had worn so that the edges of the finest lines had lost
+their sharpness, it was quite impossible. Collections of prints were
+rarely made. Literary men often saved such as were inscribed with odes of
+especial merit, or had recondite meanings that appealed to them, and to
+their care we are indebted for the preservation of the majority of those
+that have survived in perfect or nearly perfect condition.
+
+For those who have learned the elements of their language the charm of the
+prints is very great. I should perhaps say the charm of some of the prints
+is very great; for, as we learn what we ought to admire, we learn to
+discriminate, at first between the works of the different artists, then
+between different works by the same artist, and finally between different
+copies of the same work. The truth is that the prints are only in a remote
+sense to be spoken of as reproductions. Each impression is more or less an
+individual work of art; the difference in quality between one and another
+is often astonishingly wide.
+
+In conclusion it may be well to specify briefly some of the qualities in
+the prints that appeal to people of taste. In the first place, there is
+the compelling charm of colour. Equally notable are excellence of
+composition, grace, beauty, and sweep of line, distinctive character,
+daringness of conception, and perfect balance of both line and mass.
+Collectively the prints furnish the clearest exemplification of the basic
+principles of design that the world has to offer. Nowhere else can we find
+so much accomplished with simple means. Technically, also, they fulfil
+every requirement. Considered merely as wood-engravings, they are of the
+first order of excellence. Though the drawing is seldom scientifically
+accurate, it is, nevertheless, of exquisite refinement and subtlety. In
+short, the best prints are creative works of very high order which amply
+justify our admiration because of their intrinsic merit.
+
+             [KORYUSAI.  Musume leaping from Temple Balcony.]
+
+              KORYUSAI.  Musume leaping from Temple Balcony.
+
+
+
+
+
+CATALOGUE OF A LOAN COLLECTION OF JAPANESE COLOUR-PRINTS
+
+
+THE JAPAN SOCIETY OF NEW YORK
+
+
+FIFTH AVENUE BUILDING. APRIL 19 TO MAY 19, 1911
+
+
+
+
+INTRODUCTION
+
+
+The leading masters of the Ukiyoé school were a group of very great
+artists. The names of Kiyonaga, Harunobu, Okumura Masanobu, Utamaro,
+Hokusai, and Hiroshige belong in the category of those whose fame is
+world-wide.
+
+                        [SHUNSHO.  Woman in Red.]
+
+                         SHUNSHO.  Woman in Red.
+
+
+The finest of the colour-prints designed by these men and their
+fellow-artists are masterpieces of rare distinction. This does not mean
+that all of their works should be so classed. The method by which the
+prints were produced enabled the artists to turn them out rapidly, and
+many were made that were trivial in character. They served almost as many
+purposes in their time as engravings, etchings, lithographs, and the
+photographic process reproductions do with us to-day. Naturally they
+varied widely in merit and in quality. Many have been preserved, but the
+important prints by the greater artists are unfortunately very rare; few
+of them have survived the vicissitudes of time, and fewer still in good
+condition.
+
+The inception of the Ukiyoé school dates back to the early years of the
+seventeenth century, when a painter named Iwasa Matahei, departing from
+the traditional subjects of the painters of the classic schools, made
+pictures of dancing-girls and scenes of every-day life. The first prints
+were made about 1660 by Hishikawa Moronobu and were in simple black
+outline. They were sometimes coloured by hand with a few touches of colour
+roughly laid on, probably by the publisher’s assistants.
+
+In the early years of the seventeenth century a style of colouring known
+as _tan-yé_ (from the predominant use of a red-lead pigment known as tan)
+came into vogue. A little later prints were sold with more elaborate
+hand-colouring. Lacquer was mixed with the pigments to give them
+brilliancy, and the prints were known as _urushi-yé,_ or lacquer prints.
+In or about the year 1742 Okumura Masanobu began to make the first true
+colour-prints. For these he used only two colours, green and a soft red
+called _beni,_ and the prints were known as _beni-yé._ For some years
+difficulties connected with the printing prevented the use of more than
+two colour-blocks, and not until 1764 was a method discovered which made
+it possible to use as many blocks as might be required. Suzuki Harunobu
+was the first artist to take advantage of the discovery. The prints
+designed by him during the next six years are among the finest works of
+the school. Under his guidance and that of Katsukawa Shunsho, the art of
+colour-printing was brought to perfection. Then followed a period when
+many prints of precious quality were produced. The culmination was reached
+during the seventeen hundred and eighties, when Torii Kiyonaga turned out
+his marvellous single sheets, diptychs, and triptychs.
+
+Many splendid prints were designed in the next decade. It was then that
+Eishi made his delightful triptychs, that Sharaku stirred the people of
+Yedo with his wonderful caricature portraits of popular actors, and that
+Utamaro gained wide fame by the products of his facile brush. It was,
+however, a period of decadence, and by the end of the century a
+considerable distance had been travelled upon the downward path.
+
+The prints made in the nineteenth century were, for the most part, coarse
+and gaudy, the chief exceptions being those designed by Hokusai and
+Hiroshige. These men, though classed as of the Ukiyoé school, in reality
+represent what may more properly be termed another “movement” growing out
+of, but distinct from, the Ukiyoé art that reached its apogee under
+Kiyonaga.
+
+While the present exhibition includes specimens of most of the different
+kinds of prints—some of them, more especially the earlier ones, of extreme
+rarity—historical completeness has not been attempted. The aim has been
+rather to show such prints of exceptional quality and beauty as are
+available in New York.
+
+                                                       FREDERICK W. GOOKIN
+
+
+
+
+CATALOGUE
+
+
+
+                            HISHIKAWA MORONOBU
+
+
+Moronobu, who was born probably in 1625 and died in 1695, was the first
+important Japanese artist to design prints. As a painter he is highly
+renowned. He illustrated many books and made a considerable number of
+single-sheet prints, which were all either in plain black or coloured by
+hand. His works are now very rare.(6)
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_    1 Large sumi-yé (ink print)._ Matsukaze-Murasame; a nobleman and two
+      ladies at the seashore watching two women dipping salt water in
+      buckets.
+_    2 Sumi-yé._ A man and a woman seated on the floor of a room.
+_    3 Sumi-yé._ Woman reading from a book to a man reclining on the floor
+      by her side. Near them a maid-servant and utensils containing
+      refreshments.
+
+
+LENT BY A COLLECTOR
+
+
+_    4 Sumi-yé._ Scene in the Yoshiwara.
+
+
+
+                              TORII KIYONOBU
+
+
+Founder of the Torii line and one of the leading artists of the Ukiyoé
+school. Inventor of the tan-yé, or prints coloured by hand with red lead
+(Japanese _tan)_. He was born in 1664 and died on August 22, 1729. His
+style of drawing was characterized by great boldness and vigour.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_    5 Large tan-yé._ The actor Dekijima Hanya as a woman seated upon a
+      sakura tree in bloom.
+_    6 Small tan-yé._ The actor Ikushima Daikichi as a woman holding two
+      small dogs.
+_    7 Small tan-yé._ The actor Kamimura Kichisaburo as a dancing-girl.
+_    8 Large hand-coloured print._ The actor Ikushima Daikichi as an oiran
+      on parade, followed by OÌtani Hiroji as a servant holding an
+      umbrella over her.
+_    9 Tall hand-coloured print._ The actor Bando Hikosaburo.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+_   10 Urushi-yé._ Ichikawa Monnosuke as a strolling player carrying a
+      monkey on his back.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+_   11 Urushi-yé._ The elopement of Yaoya Hanbei and O-Chiya.
+
+
+LENT BY A COLLECTOR.
+
+
+_   12 Urushi-yé._ A dancing-girl.
+
+
+
+                              TORII KIYOMASU
+
+
+Eldest son of Kiyonobu, whom he succeeded as the head of the Torii line.
+His work closely resembles that of his father. He was born about 1685 and
+died on January 2, 1764.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+                 [KIYONAGA.  Holiday Group at Gotenyama.]
+
+                  KIYONAGA.  Holiday Group at Gotenyama.
+
+
+_   13 Large sumi-yé._ An actors’ boating party on the Sumidagawa.
+_   14 Large tan-yé._ The actors Yoshizawa Ayame and Kanto Koroku.
+_   15 Large tan-yé._ The actors Kanto Koroku and Ikushima Daikichi.
+_   16 Large beni-yé._ Ichikawa DanjuÌroÌ as an enraged warrior.
+_   17 Beni-yé._ Onoe KikugoroÌ in a female rôle.
+_   18 Beni-yé._ Scene from a drama. The actors Tomazawa SaijiroÌ (on
+      horseback), OÌtani Hiroji, and Segawa KikunojoÌ. The beni has turned
+      to a low-toned yellow.
+_   19 Urushi-yé._ Scene from a drama. OÌtani Oniji (on horseback)
+      threatening Sannogawa Ichimatsu in the rôle of a woman who has
+      seized his bridle rein.
+_   20 Beni-yé._ Scene from a drama. Sawamura SojuÌroÌ as Sasaki no
+      SaburoÌ and Nakamura TomijuÌroÌ as Mago no Koroku.
+
+
+
+                            FURUYAMA MOROMASA
+
+
+Pupil, and perhaps the son, of Moronobu. He devoted himself chiefly to
+painting, but designed a few prints, most of which are ukiyé, or
+perspective pictures, in the style of Okumura Masanobu.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_   21 Large hand-coloured ukiyé, or perspective print._ A game of ken in
+      a room in a nobleman’s house.
+
+
+
+                             OKUMURA MASANOBU
+
+
+One of the most eminent of the Ukiyoé artists. His drawings were greatly
+admired for their rare combination of force and refinement, and he
+exercised wide influence over his contemporaries and successors to the end
+of the eighteenth century. He was the first artist to use blocks from
+which prints were coloured in flat tints. These were printed in the red
+known as beni, green, and black, and were known as beni-yé. He was also
+the first artist to make the tall, narrow pillar prints (ha-shira-yé), and
+was the inventor of the perspective prints which he called _ukiyé._ His
+true name was Okumura Genpachi, and he was commonly known as honya
+(bookseller) Genpachi, from the fact that he was the proprietor of a
+wholesale and retail book and print shop at the sign of the “red gourd” in
+Tori-shio choÌ, Yedo.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_   22 Large sumi-yé._ Woman seated by a writing-table, reading a book.
+_   23 Urushi-yé._ Bando Hikosaburo as a warrior resisting the opening of
+      a castle door.
+_   24 Tall beni-yé._ A geisha playing upon a samisen.
+_   25 Large sumi-yé._ A woman with a pet cat watching a man dip water
+      from a chozubachi.
+
+
+LENT BY A COLLECTOR
+
+
+_   26 Large beni-yé._ Segawa KikunojoÌ as an oiran lighting her pipe at a
+      hibachi in the hands of her kamuro, and Sannogawa Ichimatsu as a man
+      holding an umbrella over her.
+_   27 Undivided beni-yé triptych._ Street scene. A boy kneeling to put on
+      a woman’s geta; a man playing upon a shakuhachi; and another man
+      carrying an umbrella.
+_   28 Undivided triptych._ Three women carrying umbrellas.
+
+
+
+                            OKUMURA TOSHINOBU
+
+
+Toshinobu, the son of Masanobu, was an artist of decided talent who died
+young. His known works, which resemble those of his father, are all
+urushi-yé, and were designed about 1730-1736.
+
+
+LENT BY A COLLECTOR
+
+
+   29 Ichimura Uzaemon as a dancing-girl.
+   30 Woman dressing.
+   31 Sanjo KentaroÌ in a female rôle.
+
+
+
+                           TSUNEKAWA SHIGENOBU
+
+
+An early Ukiyoé artist of whom little is known. His prints are extremely
+rare.
+
+
+LENT BY A COLLECTOR
+
+
+_   32 Urushi-yé._ Arashi Wakano in the rôle of Shida no KotaroÌ.
+
+
+
+                           NISHIMURA SHIGENAGA
+
+
+Son of Shigenobu. Born in 1697 and died in 1756. An artist of ability who
+exercised marked influence upon the development of the school. His prints
+are very uneven in quality.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_   33 Tall hand-coloured print._ The actor Sannogawa Ichimatsu as a woman
+      holding a folded letter.
+
+
+LENT BY A COLLECTOR
+
+
+_   34 Urushi-yé._ Segawa Kikunojo as a woman holding a warrior’s helmet.
+_   35 Beni-yé._ Procession of the Corean ambassadors.
+
+
+
+                            ISHIKAWA TOYONOBU
+
+
+One of the most important of the Ukiyoé masters. Born in 1711, died in
+1785. Pupil of Shigenaga, and probably of Masanobu whose style he closely
+assimilated.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_   36 Large beni-yé._ The actors Segawa Kikunojo and Sannogawa Ichimatsu.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+_   37 Wide print from three colour-blocks._ Women and children at the
+      seashore.
+
+
+LENT BY A COLLECTOR.
+
+
+_   38 Tall hand-coloured print._ Segawa KikunojoÌ as a woman reading a
+      letter.
+_   39 Two sheets from a beni-yé triptych._ Musume carrying umbrellas.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+_   40 Beni-yé._ Mother and son.
+_   41 Print from three colour-blocks._ Boys rolling a large snowball.
+_   42 Print from three colour-blocks._ Man struggling with a refractory
+      umbrella; a woman looking on.
+
+
+
+                              TORII KIYOHIRO
+
+
+                        [KIYONAGA. Picnic Party.]
+
+                         KIYONAGA. Picnic Party.
+
+
+Pupil of Kiyomasu. His known works are exclusively beni-yé, executed from
+about 1745 to about 1755.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+_   43 Beni-yé._ Nakamura HatsugoroÌ as Sakura no Suké.
+
+
+
+                               TORII SHIRO
+
+
+Known as Kiyonobu the second, all of his prints being signed Torii
+Kiyonobu. He was the eldest son of Kiyomasu. Worked from about 1740 to
+about 1755, when it is probable that his death occurred. Some of the most
+charming of the beni-yé prints are from his hand.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+_   44 Beni-yé._ Yamamoto IwanojoÌ as a woman dancing by a fox-trap in a
+      rice field under a blossoming cherry tree.
+
+
+
+TORII KIYOMITSU
+
+
+Second son of Kiyomasu, whom he succeeded as the head of the Torii line.
+An artist of distinction. Was the first to add a third colour-block to the
+original two. He was born in 1735 and died in 1785. After 1765 he designed
+only a few prints, and appears to have designed none later than about
+1768.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_   45 Wide print from three colour-blocks._ The NoÌ performance of
+      “Musume DoÌjoÌji.”
+_   46 Wide print from three colour-blocks._ Daimyo procession game by
+      women and children.
+_   47 Print from three colour-blocks._ Iwai HanshiroÌ as a woman reading
+      a letter while seated upon a carabao.
+_   48 Beni-yé._ Scene from a drama. Ichimura KamezoÌ (standing) as Wakemi
+      GoroÌ and Nakamura TomijuÌroÌ as Akoya.
+
+
+
+                             SUZUKI HARUNOBU
+
+
+The central figure in Ukiyoé and the eminent master under whose hand the
+art of colour-printing was brought to perfection in the sixties of the
+eighteenth century. He was a draughtsman of extreme elegance and power,
+and his works have a charm that is peculiarly their own. He died on July
+7, 1770, when, says Shiba Kokan in his book “Kokan Kokai-ki,” he “had
+hardly passed his fortieth year.”
+
+
+LENT BY SAMUAL ISHAM.
+
+
+   49 Girl attendant in an archery gallery gathering up arrows. One sheet
+      of a diptych.
+   50 A young woman showing a caged bird to a young man seated before her,
+      and surreptitiously taking a love letter from him.
+   51 A vendor of fan mounts stopping to talk to a young woman standing in
+      front of a shop.
+_   52 Hashira-yé._ Woman writing a love letter.
+_   53 Hashira-yé._ Woman holding a pet dog.
+   54 Burlesque scene. Girls carrying Daikoku (the genius of wealth—one of
+      the “Seven Fortune-beings”).
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+   55 Girls carrying Daikoku. A later impression with different colouring.
+   56 An archer and two girls near a screen. Calendar for 1765.
+   57 Young woman before a torii, carrying a hammer and nails with which
+      to perform an incantation.
+   58 Two young women on their way to the public bath-house through a
+      storm of snow and rain.
+   59 Two girls on a terrace near a torii, in the time of the
+      cherry-blossoming.
+   60 Two girls gathering mume flowers from a tree overhanging a wall.
+   61 Woman reading a letter by the light of an andon (portable lamp with
+      wind screen) which another woman is trimming.
+   62 Geisha and a young girl standing on the bank near the rapids of the
+      Tamagawa.
+   63 Young woman seated in a window, conversing with another young woman
+      seated on the floor and holding a picture-book.
+   64 Young man removing snow from the geta of a young woman.
+   65 Woman lying upon the floor of a room, reading a book, and another
+      woman standing beside her, holding a pipe.
+   66 Young woman seated on a veranda after her bath, having her back
+      massaged by her maid.
+   67 Young man talking to a girl through the bars of a window.
+   68 A burlesque apparition of Fugen. Instead of the Buddhist divinity, a
+      young woman seated on an elephant appears on a cloud before a priest
+      kneeling in prayer.
+   69 Lovers walking in the snow under an umbrella. One of Harunobu’s most
+      distinguished prints.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+   70 The Sleeping Elder Sister. First state. Early impression signed by
+      the printer, Kyosen.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+   71 The Sleeping Elder Sister. Second state. Changes made in the blocks
+      and colouring.
+
+
+LENT BY A COLLECTOR.
+
+
+   72 The Sleeping Elder Sister. Still later impression. Colouring changed
+      again, and the number of blocks increased from ten to thirteen.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+   73 The Hole in the Wall.
+   74 Mother holding her infant son.
+   75 At the entrance gate.
+   76 Mother taking her infant son from another woman and handing her a
+      letter.
+   77 Lovers in a palace.
+
+
+LENT BY A COLLECTOR.
+
+
+   78 Musume walking up a flight of steps leading to a temple.
+   79 Lovers playing battledore and shuttlecock; the young man climbing a
+      ladder to disengage the shuttlecock caught upon the branch of a mume
+      tree.
+_   80 Hashira-yé._ Woman in night attire standing by her bedside reading
+      a letter.
+
+
+
+                               SHIBA KOKAN
+
+
+An artist who is best known as a clever imitator of his master, Harunobu,
+whose signature he forged upon a number of prints. He also used the “goÌ,”
+or studio name, Harushige in signing prints in the Harunobu manner. In
+later years he painted pictures in semi-European style, and made
+copper-plate engravings which were coloured by hand. He was born in 1747
+and died in 1818.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+   81 The courtyard of a house in the Yoshiwara. A woman reading a letter
+      and a girl attendant standing beside her holding a tray. Signed
+      Harunobu.
+
+
+
+                                SHOSHOKEN
+
+
+This is the pseudonym of an artist of distinction whose identity has not
+been determined. His known works are calendar prints for 1765.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+   82 Stout lady crossing a room in a palace supported by two attendants.
+      The use of gold leaf is notable.
+
+
+
+                             KITAO SHIGEMASA
+
+
+One of the noted artists of the school. Was famous for his skill as a
+calligrapher, being reputed to have no superior in his day in either of
+the “three capitals,” Yedo, Kyoto, or Osaka. His prints, which are rare,
+are generally of much distinction. He was born in 1740, and died in the
+second month of Bunsei 3 (February or March, 1820).
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+   83 Children’s puppet show.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+_   84 Beni-yé._ Segawa KikunojoÌ and Ichimura Uzaemon as Izumo no Okuni
+      and Nagoya Sanza, two komuso, playing upon shaku-hachi.
+
+
+LENT BY A COLLECTOR.
+
+
+   85 Two geishas.
+
+
+
+                              ISODA KORYUSAI
+
+
+The most important pupil of Harunobu, whose style he followed closely in
+his early works. Later he developed a manner of his own. As a designer of
+pillar prints and of prints of birds, he was especially successful. He was
+a samurai and associated with samurai of the superior class. The director
+of the mint was one of his most intimate friends and patrons. About 1781
+he gave up print-designing, devoted himself to painting, and was given the
+honorary title of Hokyo. The dates of his birth and death are not known.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+_   86 Hashira-yé._ Musume leaping from the balcony of Kiyomidzu temple
+      with an umbrella as a parachute.
+   87 Woman standing on the engawa of a house, admiring snow-laden bamboo
+      branches; back of her, a girl and a young boy looking through a
+      window.
+   88 A Yoshiwara beauty arranging flowers; two girl attendants looking
+      on.
+
+
+LENT BY A COLLECTOR.
+
+
+_   89 Hashira-yé._ Musume carrying her infant brother.
+_   90 Hashira-yé._ Young woman poling a boat in a lily-pond.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+   91 A Yoshiwara beauty on parade, attended by a girl and a boy.
+_   92 Hashira-yé._ The bijin JuroÌjin. A young woman is represented in
+      place of the long-life being whose attributes are a crane and a
+      tortoise.
+
+
+
+                            KATSUKAWA SHUNSHO
+
+
+A contemporary of Harunobu and one of the greatest of the Ukiyoé artists.
+He was highly renowned in his day and had many pupils who became famous.
+Most of his prints were portraits of actors in character. He was born in
+1726 and died on January 22, 1793.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+   93 Segawa Kikunojo as a woman holding a red fan.
+   94 Two actors in character. The seated figure is DanjuÌroÌ, the leading
+      “star” of the Yedo stage.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+   95 Actor in a female rôle.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+   96 Iwai HanshiroÌ as a woman standing and holding a fan behind her.
+   97 Yamashita Kinsaku in a female rôle.
+   98 Actor of the Ichikawa line in the rôle of Shibaraku at the Ichimura
+      theatre.
+   99 OÌtani Hiroji as an Amazake vendor.
+_  100 Hashira-yé._ Nobleman carrying a court lady on his back. Probably a
+      parody upon the suicide of Ohan and Choyaemon.
+_  101 Wide hashira-yé._ The Woman in Red.
+
+
+
+                            IPPITSUSAI BUNCHOÌ
+
+
+An artist of samurai rank who, for a few years, designed actor prints in
+the manner of Shunsho, which have great distinction of style and colour.
+He was celebrated also as a writer of comic odes. He died on May 18, 1796.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+                [BUNCHO.  Actor as Woman talking to Men.]
+
+                 BUNCHO.  Actor as Woman talking to Men.
+
+
+  102 Bando Hikosaburo as a woman of the Yoshiwara talking to a group of
+      men through the misé.
+  103 Nakamura TomijuÌroÌ as Josan no Miya.
+
+            [KIYONAGA. Man and two Women approaching Temple.]
+
+             KIYONAGA. Man and two Women approaching Temple.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+  104 A Yoshiwara beauty accompanied by her kamuro (girl attendant)
+      bearing a cage of fireflies.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  105 Ichikawa KorazoÌ as a man carrying an actor’s dressing-case.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+  106 Scene from a drama. Yamashita Kinsaku as a woman holding a roll of
+      paper, conversing with Ichikawa KomazoÌ, who holds a letter in his
+      hand.
+
+
+
+                            KATSUKAWA SHUNKOÌ
+
+
+Pupil of Shunsho and generally regarded as his most talented follower. His
+career as a print-designer was cut short by a stroke of paralysis when he
+was in his forty-fifth or forty-sixth year, but he lived for about forty
+years thereafter as a recluse at Zenfukuji temple, Azabu, Yedo, where he
+died in 1827.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+  107 Iwai Hanshiro in a female rôle.
+  108 The actor Ichikawa Monnosuke.
+  109 Nakamura TomijuÌroÌ as a tsuzumi player.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  110 Arashi Tatsuzo as a woman flower-vendor.
+
+
+
+                            KATSUKAWA SHUNYEI
+
+
+Pupil of ShunshoÌ and an artist of ability. At first, for a short time, he
+called himself ShunjoÌ. He was born in 1767, and died on December 13,
+1819.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+  111 A bijin.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  112 Ichikawa Monnosuke in a female rôle.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+  113 Scene from the tenth act of “Chushingura.”
+  114 Ichikawa KomazoÌ.
+
+
+
+                             UTAGAWA TOYOHARU
+
+
+Pupil of Toyonobu. As a painter his reputation is justly high. He did not
+design many prints. He was born in 1735 and died on March 3, 1814.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+  114 Cock, hen and chickens.
+
+
+
+                              TORII KIYONAGA
+
+
+Everything considered, the greatest artist of the Ukiyoé school and the
+culminating figure in its forward movement. He was born in 1742 and died
+in 1815. His finest prints were designed between 1780 and 1790.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+  116 The Writing-lesson.
+  117 Fair travellers resting on a bench by the roadside.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+  118 Two geishas entertaining a young man.
+  119 Court ladies on the engawa of a palace.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  120 Three girls going to the baths at the hot springs near Miyanoshita.
+  121 Man and two women masquerading in komusoÌ attire.
+  122 Group of three women and a boy.
+  123 Two women standing beside a seated geisha who is playing on a
+      samisen.
+  124 Yoshiwara beauty attended by two women (shinzo) and two girls
+      (kamuro).
+  125 Two young women and a servant on the balcony of an inn.
+  126 Family group on their way to a temple for the naming ceremony of the
+      boy who is carried on the shoulders of an attendant.
+  127 An actor and two women examining utensils for the tea ceremony.
+  128 Women and children promenading in summer costume.
+  129 Scene from a drama. Two actors playing the game of “go” with mume
+      blossoms, and a third actor as a woman in the rôle of an umpire
+      standing between them.
+  130 Two young women walking under an umbrella and followed by a servant.
+  131 Man in a black haori approaching a temple through the snow,
+      accompanied by two women.
+_  132 Diptych._ Group of women under a cherry tree.
+_  133 Diptych._ Holiday group under the cherry trees at Gotenyama. One of
+      a series of twelve diptychs that are among Kiyonaga’s finest works.
+  134 Boating party under Ryogoku bridge. Two sheets of a triptych.
+_  135 Triptych._ The Peony (botan) Show.
+_  136 Triptych._ Women landing from a pleasure boat.
+
+
+LENT BY A COLLECTOR.
+
+
+_  137 Hashira-yé._ Woman in winter costume.
+_  138 Triptych._ A picnic party under the cherry trees.
+  139 Group of women on the bank of the Sumida river.
+  140 Group of women near a temple.
+  141 Three women at a public bath-house.
+
+
+
+                            KATSUKAWA SHUNCHO
+
+
+Pupil of ShunshoÌ. Followed the style of Torii Kiyonaga. His works closely
+resemble those of the Torii master, but have less force. Worked from about
+1775 to about 1795. In some of his later prints he imitated Eishi’s prints
+in the Utamaro manner. The dates of his birth and death are not known.
+
+
+LENT BY SAMUAL ISHAM.
+
+
+  142 One sheet of a triptych showing a nobleman’s mansion from the
+      garden, with the people engaged in various occupations.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  143 Women watching girls bouncing balls.
+_  144 Diptych._ Group at the entrance to a temple.
+  145 Three women in a temple compound.
+
+             [SHUNCHO.  Women watching Girls bouncing Balls.]
+
+              SHUNCHO.  Women watching Girls bouncing Balls.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+  146 Group of girls at a tea booth by the seashore.
+
+
+LENT BY A COLLECTOR.
+
+
+  147 A picnic party. Two sheets of a triptych.
+  148 Women picking wild flowers under a cherry tree in bloom.
+
+
+
+                               HOSODA EISHI
+
+
+One of the foremost artists of the school. He was a samurai of high rank,
+and a pupil of Kano Eisen. For three years before he took to Ukiyoé he
+held an official post in the household of the shogun Iyeharu. Eishi was a
+master of all the resources of the art of colour-printing and his prints
+are characterized by great elegance and refinement. He worked from about
+1782 to 1800, when he gave up print-designing. He died in 1829.
+
+
+LENT BY SAMUAL ISHAM.
+
+
+_  149 Triptych._ Eight women and a man playing the game of “Catch the
+      fox.”
+  150 Group of Yoshiwara women and attendants.
+  151 Someyama and her kamuro playing with a pet dog.
+  152 Yoshiwara women admiring a branch of mume tree with unopened flower
+      buds.
+_  153 Triptych._ Fête in a nobleman’s palace. Ladies composing poems.
+
+                  [EISHI. Fête in a nobleman’s palace.]
+
+                   EISHI. Fête in a nobleman’s palace.
+
+
+LENT BY MRS. WILLIAM BENJAMIN WOOD.
+
+
+  154 Another copy of the foregoing triptych. Shows how beautifully the
+      purple changes by chemical decomposition.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  155 Oiran and attendants on parade.
+
+
+LENT BY A COLLECTOR.
+
+
+  156 A Yoshiwara beauty. Ink proof of the key block.
+  157 Two women entering a room in the palace of Prince Genji, where a
+      young girl is seated playing with a kitten.
+
+
+
+                             YEISHOSAI CHOKI
+
+
+An artist of ability, though not quite of the first rank. His prints are
+rare. He worked at first in the style of Kiyonaga. Later he imitated
+Utamaro, and changed his “goÌ,” or studio name, to Momokawa Shiko.
+
+
+LENT BY A COLLECTOR.
+
+
+  158 Woman and child catching fireflies.
+
+
+
+                             TOSHUSAI SHARAKU
+
+
+This artist was by profession a performer of the stately and aristocratic
+No dramas in the service of Hachisuka, Daimyo of Awa. During the period
+from about 1790 to 1795 he designed a small number of caricature portraits
+of actors, which have great force and distinguished character.
+
+
+LENT BY YAMANAKA & COMPANY.
+
+
+  159 The actor(7) Tanimura TorazoÌ in the rôle of Kakogawa HonzoÌ.
+  160 Ichikawa EbizoÌ in the rôle of Ko no Moronao. This print bears an
+      inscription, probably contemporary, giving the date 1794.
+  161 Onoe Matsusuke as one of the Loyal Ronin.
+  162 Rando HikosaburoÌ in the rôle of Yuranosuke.
+  163 Iwai HanshiroÌ in the rôle of Oishi, wife of Yuranosuke.
+  164 Ichikawa Monnosuke as one of the Loyal Ronin.
+  165 Morita Kanya as one of the Loyal Ronin.
+  166 Segawa TominojoÌ in the rôle of Kaoyo Gozen, wife of Yenya.
+  167 Sawamura SojuÌroÌ in the rôle of Yenya Hanguwan.
+  168 Arashi TatsuzoÌ in the rôle of Yoichibei.
+  169 Sakata HangoroÌ as Ten-ichi-boÌ Hotaku.
+  170 Segawa TominojoÌ and Nakamura ManjuÌroÌ in female rôles.
+  171 Nakajima Utaemon and Nakamura KonozoÌ.
+  172 Ichikawa OmezoÌ in the rôle of Sukeroku.
+  173 Matsumoto KoshiroÌ in the rôle of the otokadaté Banzuin Chobei. This
+      print is commonly known as “The man with the pipe.”
+  174 Matsumoto YonesaburoÌ in the rôle of Okaru, wife of Kampei.
+  175 Ichikawa YaozoÌ in the rôle of Hayano Kampei.
+  176 Kosagawa TsuneyoÌ in the rôle of Tonasé, wife of Kakogawa HonzoÌ.
+  177 OÌtani Oniji in the rôle of Sadakuro.
+  178 Sannogawa Ichimatsu in a female rôle.
+ 178a Nakayama TomisaburoÌ in the rôle of Komurasaki, and Ichikawa KomazoÌ
+      as her lover, Shirai Gompachi, walking with her under a huge
+      umbrella.
+
+                          [SHARAKU. Two Actors.]
+
+                           SHARAKU. Two Actors.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+  179 Segawa TominojoÌ.
+
+
+
+                             KITAGAWA UTAMARO
+
+
+One of the most gifted and most widely known of the Ukiyoé masters.
+Extraordinarily facile and brilliant. Born in 1753 and died in 1806.
+
+
+LENT BY SAMUAL ISHAM.
+
+
+_  180 Triptych._ Imaginative view of a fête in a Chinese palace. It is a
+      medley of Chinese and Japanese details intended as a take-off upon
+      the treatment of Chinese subjects by the painters of the classic
+      schools.
+  181 The hour of the Boar (9 to 12 P.M.). One of a set illustrating the
+      twelve hours into which the Japanese day is divided.
+_  182 Diptych._ Women in a nobleman’s palace, painting kakemono.
+  183 Yoshiwara beauties on parade.
+ 183a A sheet from the “Washing day” triptych.
+  184 Woman helping a man attire himself in ceremonial dress.
+  185 Woman bending over to see a baby which another woman is nursing
+      while seated before a mirror, arranging her hair.
+  186 Woman talking to a fan-mount vendor.
+_  187 Triptych._ The persimmon-gatherers.
+_  188 Triptych._ Procession of a noble lady and women attendants on their
+      way to a temple, bearing offerings.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+_  189 Triptych._ Shadows on the shoji. Illustrations of three effects of
+      sake (rice wine).
+  190 Woman arranging flowers.
+  191 The kitchen. One sheet of a diptych.
+  192 A night excursion. One of Utamaro’s most famous prints.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+  193 Hairdresser combing a girl’s hair.
+  194 Woman with a young boy on her back, watching three puppies at play.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+  195 Kitao Masanobu drunk with sake at a fête in a daimyo’s palace. Part
+      of a triptych.
+
+
+LENT BY A COLLECTOR
+
+
+  196 Woman wearing a black zukin, and a maid bearing a lantern.
+  197 Woman standing on a pier, holding an umbrella, and conversing with a
+      man seated under the canopy of a boat.
+  198 Woman bearing a teacup on a lacquer stand.
+  199 Woman raising the mosquito netting over her bed to read a letter by
+      the light of an andon.
+  200 Three performers in a niwaka, or burlesque theatrical procession, in
+      the streets of the Yoshiwara.
+  201 Woman holding in her mouth a “pokan-pokan”—a musical toy of thin
+      glass which makes a peculiar sound when air is blown through it.
+_  202 Triptych._ Boating party.
+_  203 Triptych._ The awabé divers of Isé.
+_  204 Triptych._ Women and children on a bridge.
+
+                   [UTAMARO. Woman with a Musical Toy.]
+
+                    UTAMARO. Woman with a Musical Toy.
+
+
+
+                             UTAGAWA TOYOKUNI
+
+
+A brilliant artist of high repute in his day. Some of his prints,
+especially the earlier ones, are of distinguished quality. He was born in
+1769 and died on February 24, 1825.
+
+
+LENT BY A HAMILTON EASTER FIELD.
+
+
+_  205 Triptych._ Street scene in the Yoshiwara.
+  206 Large head of an actor.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+  207 The actor Koraiya.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  208 Musume raising a large umbrella.
+_  209 Triptych._ Women in a public bath-house.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_  210 Triptych._ The Six Tamagawa, represented by six women washing
+      strips of cloth in a rapid-flowing stream.
+
+
+LENT BY A COLLECTOR
+
+
+  211 Woman accompanied by a maid carrying a lantern.
+_  212 Triptych._ Lady emerging from a kago; her attendants grouped about
+      her.
+
+                    [TOYOKUNI.  Women in Bath House.]
+
+                     TOYOKUNI.  Women in Bath House.
+
+
+
+                            KATSUSHIKA HOKUSAI
+
+
+A master of extraordinary versatility and power. Perhaps the most widely
+known of all the Japanese artists. He was born in 1760 and died in the
+spring of 1849.
+
+  213 Winter landscape.
+  214 Cranes on a snow-laden pine tree.
+  215 Iris.
+  216 Turtles swimming.
+
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+  217 Fuji san seen beneath a wave of the sea at Kanazawa. Hokusai’s
+      famous “wave.”
+
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  218 View of Fuji from Ushibori; a large boat moored in the foreground.
+
+                     [HOKUSAI.  Fuji from Ushibori.]
+
+                      HOKUSAI.  Fuji from Ushibori.
+
+
+
+LENT BY A COLLECTOR
+
+
+  219 Winter landscape.
+
+
+
+
+                              ANDO HIROSHIGE
+
+
+The last great artist of the Ukiyoé school, and a consummate master of
+landscape art. Born in 1797 and died on October 12, 1858.
+
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+  220 A cold morning at Shono, on the ToÌkaidoÌ.
+  221 View of Fuji san from Goyo.
+  222 Pine trees on the shore at Hamamatsu.
+  223 Flying kites at Fukuroi.
+  224 The “fox fires” at OÌji.
+  225 Kinryusan, Asakusa, in snow.
+  226 The fields back of Asakusa seen from a window through which a white
+      cat is looking out.
+  227 Travellers in snow at Ishiyakushi.
+
+                    [HIROSHIGE.  Pines at Hammamatsu.]
+
+                     HIROSHIGE.  Pines at Hammamatsu.
+
+
+
+                         LENT BY ALBERT GALLATIN.
+
+
+  228 Evening rain at Azumasha.
+
+
+
+LENT BY A COLLECTOR
+
+
+  229 Autumn moon over the river Tama.
+  230 The evening glow at Setta.
+  231 The crowd in Ni ChoÌ (Second Street) at night. At the right is the
+      Ichimura theatre, upon which and upon the tea-house across the way
+      are tall signs advertising plays and actors.
+  232 Aowi and bird.
+  233 Pheasant and young pine trees upon a steep hillside.
+  234 Raftsman on the Sumida river in a snow storm.
+
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  235 Shower at ShoÌno.
+  236 GyoÌtoku; boats returning.
+
+
+
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK JAPANESE COLOUR-PRINTS AND THEIR DESIGNERS***
+
+
+
+CREDITS
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+\ No newline at end of file
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+The Project Gutenberg EBook of Japanese Colour-Prints and Their Designers
+by Frederick Gookin
+
+
+
+This eBook is for the use of anyone anywhere at no cost and with almost no
+restrictions whatsoever. You may copy it, give it away or re-use it under
+the terms of the Project Gutenberg License included with this eBook or
+online at http://www.gutenberg.org/license
+
+
+
+Title: Japanese Colour-Prints and Their Designers
+
+Author: Frederick Gookin
+
+Release Date: May 25, 2013 [Ebook #42811]
+
+Language: English
+
+Character set encoding: ISO 8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK JAPANESE COLOUR-PRINTS AND THEIR DESIGNERS***
+
+
+
+
+
+                   [HARUNOBU. Lovers walking in Snow.]
+
+                    HARUNOBU. Lovers walking in Snow.
+
+
+               Japanese Colour-Prints and Their Designers
+
+A Lecture Delivered Before the Japan Society of New York on April 19, 1911
+
+
+
+
+
+                       By Frederick William Gookin
+
+
+
+
+New York
+The Japan Society
+
+1913
+
+
+
+
+
+CONTENTS
+
+
+JAPANESE COLOUR-PRINTS AND THEIR DESIGNERS
+CATALOGUE OF A LOAN COLLECTION OF JAPANESE COLOUR-PRINTS
+   INTRODUCTION
+   CATALOGUE
+
+
+
+
+
+ILLUSTRATIONS
+
+
+HARUNOBU. Lovers walking in Snow.
+MORONOBU.  Nobleman and two Ladies at Seashore.
+KIYOMASU. Actors' Boating Party
+MASANOBU. Geisha playing Samisen.
+TOYONOBU.  Actor reading Letter
+KIYOMITSU. Daimyo Procession Game.
+HARUNOBU. Young Woman before Torii.
+HARUNOBU.  The Sleeping Elder Sister.
+HARUNOBU.  The Sleeping Elder Sister.
+HARUNOBU.  The Sleeping Elder Sister.
+HARUNOBU.  Woman reading Letter.
+KORYUSAI.  Musume leaping from Temple Balcony.
+SHUNSHO.  Woman in Red.
+KIYONAGA.  Holiday Group at Gotenyama.
+KIYONAGA. Picnic Party.
+BUNCHO.  Actor as Woman talking to Men.
+KIYONAGA. Man and two Women approaching Temple.
+SHUNCHO.  Women watching Girls bouncing Balls.
+EISHI. F�te in a nobleman's palace.
+SHARAKU. Two Actors.
+UTAMARO. Woman with a Musical Toy.
+TOYOKUNI.  Women in Bath House.
+HOKUSAI.  Fuji from Ushibori.
+HIROSHIGE.  Pines at Hammamatsu.
+
+
+
+
+
+
+JAPANESE COLOUR-PRINTS AND THEIR DESIGNERS
+
+
+In the annals of art production the colour-prints designed by the master
+artists of the Ukiyo� school occupy a unique place. They represent a
+plebeian art which was not a spontaneous upgrowth from the soil, but, so
+to speak, a down-growth or offshoot from an old and highly developed art
+of aristocratic lineage.
+
+This elder art had its fountain-head in ancient China. That country,
+during the Tang and the Sung dynasties (618-905, 960-1280), was the seat
+of an aesthetic movement during which painting and other arts reached an
+extraordinarily high development. To the works produced during this great
+flowering-time of art the Japanese painters of the classical schools
+turned for inspiration and enlightenment. These works were distinguished
+by singleness of purpose, rhythmic vitality, and synthetic coherence, and
+by a clear conception of the essential that goes far beyond anything
+elsewhere attained, and which, when fully apprehended, must inevitably
+force a revision of Western ideas and criteria.
+
+The art of ancient China and of the earlier Japanese schools is an art
+refined, poetic, and intensive to the last degree. It is based upon
+profound understanding of aesthetic laws. The artists were carefully
+grounded in the fundamental principles that govern all art, whether
+Oriental or Occidental. The result of this training is apparent in the
+homogeneity of their works. In Europe very confused notions have prevailed
+as to what should be done and what is permissible in art. Not even the
+great artists have always seen clearly; had they done so, it cannot be
+doubted that Western achievement would have attained a much higher level
+than it has ever reached.
+
+In the Japanese modifications of the ancient Chinese art its traditions
+and aesthetic ideals were sedulously preserved. With only rare exceptions,
+the artists--and under this head it is necessary to include potters,
+lacquerers, metal-workers, swordsmiths, and others--were drawn from the
+upper classes. Many of them were in the service of the daimyo, and did not
+sell their productions, but received from their noble patrons regular
+stipends in koku of rice. Seldom did any of their works find their way
+into the hands of the common people, who had little opportunity,
+therefore, to become familiar with them. Gradually, however, as the number
+of paintings, statues, and other art objects multiplied and the temples
+were filled with votive offerings, the classical art made its impress upon
+buildings, wearing apparel, and utensils of all sorts; its conventions and
+principles were laid hold of by all classes and became the heritage of the
+entire people.
+
+            [MORONOBU.  Nobleman and two Ladies at Seashore.]
+
+             MORONOBU.  Nobleman and two Ladies at Seashore.
+
+
+The social fabric in old Japan was one of sharp distinctions. At the upper
+end of the scale were the Emperor; the kuge, or court nobles; the daimyo,
+or lords of the two hundred and fifty-one provinces; and the samurai, or
+hereditary military men, from whom were recruited the officials, priests,
+and scholars. Between these and the lower classes was an almost
+immeasurable gulf. Highest among the heimen, or commoners, were the
+farmers. Below them were the artisans, and still lower were the merchants,
+innkeepers, servants, and the like; while lowest of all were the eta, or
+outcasts, a class comprising scavengers, butchers, leather-workers, and
+others engaged in what were considered degrading occupations.
+
+Under the peaceful regime of the Tokugawa shoguns there was a sociological
+change that in the cities almost amounted to a transformation. The most
+salient feature was the rise of the tradesmen and artisans to wealth and
+power. Many places of amusement sprang up, restaurants and tea-houses
+multiplied, jugglers, story-tellers, musicians, and other itinerant
+entertainers found audiences in every street, f�tes were frequently held
+in the temple compounds, the theatre rose to a position of prominence, and
+the yukwaku, or courtesan quarters, with their medley of attractions,
+became established institutions.
+
+The art of the Ukiyo� was a direct outcome of the gay life of this time.
+The inception of the school dates back to the closing years of the
+sixteenth century, when a reaction set in against the Chinese classicism
+of the Ashikaga period. This manifested itself in the choice of Japanese
+instead of Chinese subjects, and in novel treatment in which features of
+both the classic Kano and Tosa styles were combined, but which in many
+respects broke away from academic traditions. The reputed leader of the
+revolt was Iwasa Shoi, better known as Matahei, son of the Daimyo of
+Itami; but other distinguished artists, notably Kano Sanraku, also painted
+pictures in the new manner, which was not then held to constitute a
+distinct school. The subjects being drawn from the life of the people,
+these pictures were called Ukiyo�. � is the Japanese term for a picture or
+drawing.(1) Ukiyo, as originally written, had a Buddhistic signification
+and was applied to the secular as distinguished from the ecclesiastical
+world. Literally the word means "the miserable world," but as now used it
+may be more accurately translated as "the passing (or floating) world of
+every-day life."
+
+Perhaps for the reason that Ukiyo� themes were not considered quite
+dignified, and because they did not express poetic ideas, the Ukiyo
+paintings of Matahei and his contemporaries and successors, though prized
+and much sought after, were seldom signed, and the identification of their
+authorship is a matter of extreme difficulty. For more than half a century
+works in this manner continued to be produced in considerable numbers, but
+the movement did not crystallize into a school until, in the person of
+Hishikawa Moronobu, a leader appeared to give it form and direction.
+Moronobu was an artist of rare distinction. His paintings were eagerly
+sought by the daimyos and the wealthier samurai. But Moronobu was a man of
+the people, and it was as a designer of book illustrations and later of
+ichimai-y�, or single-sheet prints, that he gave the impetus to Ukiyo�.
+For fifty years or more prior to his time books with engraved
+illustrations had been published in Japan, but they were comparatively few
+and the illustrations were poor and crudely executed. The twelve drawings
+Moronobu made for a book of instruction for women in etiquette and
+hygiene, published in 1659, marked a decided advance. This, so far as we
+know, was the first of a long series of books illustrated by him. Their
+popularity was deservedly great, and by them his fame became wide-spread.
+The illustrations were printed in black from blocks similar to those from
+which the text was printed, and were characterized by fine broad treatment
+and a rather wiry but strong and expressive outline.
+
+About 1670 Moronobu began to issue large single-sheet prints which could
+be affixed to screens or mounted as kakemono. These prints, which were
+impressions in black from one block only, are known as sumi-y�--_sumi_
+being the Japanese name for Chinese--or, as we incorrectly call it,
+India--ink. They were designed to be coloured by hand, and apparently a
+part of the edition was so coloured before being placed on sale by the
+publishers. At first this colouring consisted of a few touches of
+yellow-green crudely laid on; later it became more elaborate, and
+occasionally we meet with prints that are very beautifully coloured, but
+in such cases it is impossible to tell when or by whom the colouring was
+done. The probability is that in some instances it was the work of
+purchasers of the prints.
+
+Moronobu's pupils, of whom there were many, devoted themselves almost
+exclusively to painting. After his death in 1695, the production of prints
+fell chiefly into the hands of Torii Kiyonobu and his son Torii Kiyomasu,
+two artists who take rank among the most talented men of the Ukiyo�
+school. Moronobu had taken for the subjects of his prints historic
+incidents, the manners and customs of the people, and, in particular,
+women and their occupations and amusements. To these the Torii artists,
+seeing a new and fertile field for the print-designer in the rise of the
+theatre as a popular form of entertainment, added portraits of actors in
+the costumes of their most admired r�les. Especially esteemed were
+Kiyonobu's portraits of the first Danju�ro�. During the Genroku period
+(1688-1704) the people developed a passion for the theatre that amounted
+to veritable madness. In the first quarter of the eighteenth century this
+reached a height that sorely troubled the Tokugawa rulers. To check it
+various expedients--among them the exclusion of women from the stage--were
+tried. They only added fuel to the flame. Certain gross practices were
+abolished. This helped to purify the theatre, but also to perpetuate it by
+removing the seeds of what must inevitably have meant its early decay.
+Actors of distinguished ability became popular idols. Their comings and
+goings were like royal progresses. Wherever they went, were it to view the
+cherry blossoms at Ueno, for a boating party on the river, or for a visit
+to the Yoshiwara, they moved in state. Yet their rank in the social scale
+was so low that they were looked upon as little better than eta. The
+earliest actors were contemptuously termed _kawara-mono_ (river-bed folk),
+from the fact that the first theatrical performances in Japan were upon a
+stage erected in the dry bed of the Kamogawa at Kyoto. The stigma that
+attached to their origin and to the vulgarity of the early performances
+has never been entirely lifted. Many of the Ukiyo� artists felt it a
+degradation to make drawings of actors. Nevertheless the popular demand
+created a supply, and for more than a century a large proportion of the
+enormous output of prints consisted of theatrical scenes and portraits of
+the performers.
+
+                    [KIYOMASU. Actors' Boating Party]
+
+                     KIYOMASU. Actors' Boating Party
+
+
+Many of the prints produced during the early years of the eighteenth
+century were large single figures of actors, geishas, and women of the
+Yoshiwara. These were broadly treated, with strong, free brush-strokes
+based upon the technique of the Kano masters and quite different from
+Moronobu's style, which was more nearly like that of the Tosa painters.
+Each of the classical schools, I may explain, had its own peculiar
+methods, for which brushes of special shape were required. In their
+spontaneity, their freedom, their glorious sweep of line, these prints are
+among the finest works of the Ukiyo� school. Among them are many
+masterpieces of linear composition. Yet by the people of the upper classes
+they were regarded as hopelessly vulgar. Though the Kano painters used
+similar sweeping strokes, they laid great stress upon carefully modulated
+tone. The notan, or lightness and darkness of the ink in different parts
+of the drawing, was an essential quality. It should not be confused with
+chiaroscuro, the science of light and shade. Notan signifies merely
+difference in lightness and darkness of tone. In the early prints this did
+not appear. All the lines were uniformly black. And the addition of
+colouring which was looked upon as coarse and gaudy was a further offence
+to persons of refined taste.
+
+Our vision not being hampered by the canons of the Kano academy, we can
+appreciate the distinguished character of these compositions.
+Unquestionably the brush-work of a Sesshu, a Motonobu, or a Tanyu--to name
+a few only of the most eminent of the Japanese painters--has a precious
+quality not to be found in any printed line.(2) Nevertheless the primitive
+Ukiyo� prints have a freshness and vital force peculiarly their own. The
+word "primitive" as applied to these prints calls for a word of
+explanation. They are primitive, not in their art, which is highly
+developed, but merely as regards its application to wood-engraving.
+
+The failure of Japanese connoisseurs to appreciate Ukiyo� art is not,
+however, entirely or even principally because of its technique. The art of
+the classical schools is deeply imbued with poetic feeling and usually is
+dignified in subject. Ukiyo� art, on the contrary, is flippant, whimsical,
+comic. Except when it deals with portraits, landscapes, or birds and
+flowers--subjects that are not strictly Ukiyo�--it is seldom that the things
+depicted are intended to be taken quite seriously. In nearly every picture
+there is some joke, open or cleverly hidden, some amusing fantasy in the
+shape of a modern analogue or travesty of popular myth, well-known tale,
+or historical event. Sly hits at the vices or follies of the aristocrats
+are not uncommon. A very large proportion of the subjects deals with the
+theatre and the denizens of the Yoshiwara. To the Japanese of the upper
+classes Ukiyo� art was a synonym for the art of the underworld. It is not
+surprising that they failed to appreciate its merit. To give Ukiyo�
+paintings or prints an honourable place in one's house was a confession of
+lack of taste. Were there no other reason, the subjects for the most part
+rendered them unfit, if not impossible. The prints were indeed amusing,
+and therefore many of them were saved; but they were looked upon much as
+we regard the pictures in our comic periodicals. Even when the art in
+these is good, it is hard to disassociate it from the humour and to enjoy
+it for itself alone. More commonly we fail to appreciate it as art or even
+to think of it as such. So it was with the prints. To the Japanese they
+appeared little better than children's toys. In considering this we should
+not overlook the important circumstance that when first printed they were
+in general less charming than they are to-day. The wonderful colour that
+makes them so entrancing has come in large measure through the mellowing
+influence of time. Not infrequently this has wrought transformations that
+would seem incredible did not close study show clearly the changes that
+have taken place.
+
+                   [MASANOBU. Geisha playing Samisen.]
+
+                    MASANOBU. Geisha playing Samisen.
+
+
+Even to-day inherited prejudice prevents wide-spread appreciation of the
+prints in the land of their origin. Our enthusiastic admiration is still
+more or less a mystery to our neighbours across the Pacific. Only now,
+when most of the fine prints have passed into the hands of European and
+American collectors, are the Japanese connoisseurs beginning to understand
+how it is that the Western art-lover, unfettered by any traditional point
+of view and not disturbed by any meanings the subject may hold or suggest,
+is able to perceive the glorious colour, the superb composition, the
+masterly treatment and rare beauty to which they have been blind.
+
+The history of art is everywhere among civilized peoples a record of the
+influence of a succession of ideas, each in turn dominating for a longer
+or a shorter period the character of what is produced. When an idea has
+sufficient vitality to constitute the germ of a specific type of art, and
+artists of creative genius are inspired by it, the votaries working under
+the stimulus of a common ideal form what we designate as a school. "When
+left to pursue its course of development unchecked," each marked type of
+art, as John Addington Symonds pointed out in one of his essays, "passes
+through stages corresponding to the embryonic, the adolescent, the
+matured, the decadent, and the exhausted," This sequence, he showed, was
+clearly marked in the evolution of Italian painting, the Attic and the
+Elizabethan drama. Any of the classic schools of Japanese painting, the
+Kos�, the Yamato, the Sesshu, or the Kano, would furnish an excellent
+illustration, though in studying these movements it would be necessary to
+follow them back to their Chinese antecedents. The Ukiyo� school affords a
+particularly striking example. In the works of the earlier
+artists--Moronobu, Kiyonobu, Kiyomasu, and the Kwaigetsudo� group--we find
+superabundant vigour, swift inspiration, and splendid though sometimes
+brutal force. The note of prophecy that these works contain is found also
+in those of the next generation of artists, foremost among whom was
+Okumura Masanobu. The fire of enthusiasm still glows brightly, but more
+attention is paid to subtleties of style, to beauty of detail, and to the
+development of technical processes. Hand-coloured prints are superseded by
+those in which the colour as well as the black outline is printed. Ukiyo�
+has become an art of the printed pictures which in large measure have
+taken the place of paintings.
+
+Then, after a brief interval of eager experiment and rapid changes, comes
+the flowering-time, when a group of great artists turn out by the thousand
+works in which spiritual intensity is combined with grace, beauty,
+refinement of composition, and technical perfection. This is the epoch of
+Harunobu, Shunsho�, Shigemasa, Koryusai, Kiyonaga, and Shuncho�.
+
+The decline of the initial impetus that brought the school into being is
+plainly apparent in the works of the next generation. Utamaro was an
+artist of the very first rank, whose genius cannot be gainsaid; Eishi and
+Toyokuni were only a little less brilliant; but it was their misfortune to
+come upon the scene when the cycle of animating ideas had been exhausted.
+Too virile to be content merely to echo the performances of their
+predecessors, they spent their energy in inventing variations upon the
+perfected type. It was the only course open to them, but it led steadily
+and swiftly downward, though neither the artists nor the people who
+gleefully applauded each successive innovation were conscious of the
+decadence.
+
+With the appearance of still another generation of artists upon the scene,
+the degradation of the school was complete. Artistic feeling was obscured
+by blatant vulgarity and affectation. There was a steady letting down to
+the level of the popular taste, which was steadily lowered in consequence.
+The skill of the more able artists was expended in the production of works
+interesting chiefly as _tours de force,_ more remarkable for technical
+than for artistic merit; the tendency toward exaggerated drawing became
+more pronounced; colouring grew more crude, raw, and over-vivid.
+Coincident with this decline in the art of the Popular School was a change
+for the worse in the fashions of the time. Loud patterns for brocades and
+other fabrics came into vogue; garments became showy and elaborate;
+coiffures, more especially those of the demi-monde, were often startling
+in their extravagance. As the prints were accurate mirrors of contemporary
+life, in these changed fashions may be found a partial explanation of the
+inferiority of the works of the later men. The Ukiyo� Ryu� was a school of
+design which laid its impress upon all of the arts. The prints were but
+one of its phases, though the principal and the most distinguished of
+them. The rise, culmination, and disintegration took place all along the
+line. Toward the middle of the nineteenth century the Ukiyo� school sank
+into the dotage of decrepitude, and then into the sleep from which there
+is no awakening. I choose this phrase deliberately. An art that is of the
+past can never be revived. We may strive to work in the style of Harunobu
+or of Kiyonaga. All we can do is to copy their forms and imitate their
+mannerisms. We cannot possibly get our inspiration from the same source as
+they; that dried up at the fountain-head long ago. The best work we can do
+in their style must necessarily lack creative force and be without a spark
+of real vitality.
+
+Primarily the charm of the Ukiyo� colour-prints is due to the fact that
+the leading masters of the school were artists of exceptional power. It is
+also due to the fact that most of them(3) made print-designing their chief
+occupation, to which they devoted their thought, time, and skill, and that
+with rare exceptions they were less distinguished as painters.
+
+                    [TOYONOBU.  Actor reading Letter]
+
+                     TOYONOBU.  Actor reading Letter
+
+
+From about 1670, when Moronobu began to issue single-sheet prints, until
+about 1742, a period of at least seventy years, the prints were in black
+outline and were coloured by hand. They were, in fact, cheap paintings.
+Early in the eighteenth century the chief pigment used in colouring them
+was red lead. The Japanese name for this pigment is tan, and the prints
+upon which it appears are designated as tan-y�. About 1710 yellow and
+citrine were commonly used with the tan. Four or five years later a new
+style of hand-colouring, said to have been devised by Torii Kiyonobu, came
+into vogue and greatly modified the style in which the prints were
+designed. In place of tan he substituted beni, a very beautiful but
+fugitive red extracted from the saffron. This was used in combination with
+a greenish yellow (probably gamboge) and low-toned blues and purples.
+Finer details were introduced into the designs, and the colouring in
+general was more carefully done. In response to a growing demand for less
+expensive pieces smaller prints (hoso-y�) became common. To give
+brilliance to the pigments a little thin lacquer (urushi) was mixed with
+them, and, while wet, parts of the design were sprinkled with metallic
+powder, which was probably applied by blowing it through a small bamboo
+tube. These prints were known as urushi-y�, or lacquer prints. A little
+later the custom grew up of painting parts of the prints with black
+lacquer.
+
+Not until the year 1742 did the practice begin of applying colour by
+impressions from flat wood blocks. Why the invention should have been so
+long delayed, and why, after it was once made, nearly fourteen years more
+should have elapsed before the number of colour-blocks was increased
+beyond two, are questions to which no certain answer is yet forthcoming.
+It is incredible that during the forty years when innumerable
+hand-coloured prints were issued no one should have conceived the idea of
+printing the colour as well as the black outline. Without doubt some
+practical difficulty connected with the printing stood in the way.
+Possibly the thing that awaited discovery was the trick of mixing rice
+paste with the colour to keep it from running. Or, as is more likely, it
+took a long while to discover a practical method of securing accurate
+register in impressions made upon damp paper which was liable to stretch
+or shrink during the printing process. Whatever the problem may have been,
+the honour of the solution is due to Okumura Masanobu. Being a publisher
+as well as an artist, he was no doubt alive to the economic advantage of a
+cheaper process and to the attraction of novelty. Some years earlier he
+had invented the hashira-y�, or pillar-print, and had also put forth a
+series of prints that show a fair understanding of the laws of linear
+perspective to which he gave the name of Ukiy�. Being an artist as well as
+a publisher, Masanobu perceived that the change in process called for a
+change in the style of the designs. The very first of the new prints,
+therefore, were characterized by finer and more exquisite detail than was
+suitable for the hand-coloured editions. The colours used were beni and a
+soft green; and the name beni-y�, which had been applied to the
+hand-coloured prints in which beni was used, was also given to them. A
+happier selection of colours could not have been made. By thinning the red
+and modifying the hue of the green a wide range of effects was secured.
+Almost every possible combination and variation was tried during the
+fourteen or fifteen years that the beni-y� were in vogue. The world is far
+richer because of this long period before the number of colour-blocks was
+increased, since time was afforded to work out the decorative
+possibilities resulting from the limitation to two colours and black and
+white. This limitation demanded fine skill and creative resource in the
+invention of pattern and the distribution of the colours employed.(4) The
+results achieved were remarkable. Until one has seen them it is impossible
+to realize that so much life and vivacity of colouring could be given by
+impressions from two blocks charged with rose and green.
+
+                   [KIYOMITSU. Daimyo Procession Game.]
+
+                    KIYOMITSU. Daimyo Procession Game.
+
+
+By many the beni-y� are regarded as the choicest products of the school.
+So charming were they when first printed that they speedily drove the
+urushi-y� prints out of the market, with the exception of the tall
+hashira-y�, or pillar prints, of which hand-coloured editions continued to
+be produced for a year or two, to satisfy those who still wished paintings
+rather than prints. Most of the beni-y� that have survived until our time
+are very much faded. The beni has quite generally turned into a soft
+yellow or disappeared altogether. The green is more stable, but that also
+has in many instances become a warm citrine or russet. Extremely rare are
+the specimens in which the original colour has not suffered material
+modification.
+
+From the testimony of the prints themselves it appears probable that very
+soon after Okumura Masanobu issued the first prints in beni and green,
+similar prints were put forth by Nishimura Shigenaga, Ishikawa Toyonobu,
+Torii Shiro (otherwise Kiyonobu the second), and all the Yedo
+print-designers, among them the veteran Torii Kiyomasu. None of these men
+seems to have attempted any marked departure from the type established by
+Okumura. About 1755, however, a group of young men appeared upon the
+scene, who were fired with zeal for further experiments. The leaders were
+Torii Kiyomitsu, Kitao Shigemasa, and Suzuki Harunobu. Kiyomitsu began by
+trying novel colour schemes such as two tones of beni instead of beni and
+green. Then he tried a third colour-block. After this new developments
+followed in rapid succession. The variety and range of the colour schemes
+broadened almost from day to day. At first the wider resources proved an
+embarrassment, but the mastery attained in dealing with the simpler means
+soon enabled the artists to take advantage of them. Invention was
+stimulated. In 1764 a printer named Kinroku discovered a method by which
+printing in colours from many blocks became possible. We can only guess at
+the nature of the difficulty that was surmounted; but as it is known that
+the printing was usually done upon dampened paper, it is evident that the
+stretching or shrinking of the sheets, to which I have already referred,
+must have proved extremely troublesome, and that every additional block
+must have multiplied the liability to defective register. It is reasonably
+safe to assume, therefore, that to find some means of overcoming this was
+the problem which remained unsolved for so many years.
+
+                  [HARUNOBU. Young Woman before Torii.]
+
+                   HARUNOBU. Young Woman before Torii.
+
+
+The name of Suzuki Harunobu is familiar to every admirer of Japanese
+prints. It is in large measure to his genius that the development of
+full-colour printing is due. He was not only the first artist to make use
+of the new process, but he took advantage of it to bring out prints of a
+novel type. Very dainty and graceful these were, and in the poetic
+allusions or quiet humour with which they were charged, and in the quality
+of the brush-strokes with which the drawings were executed, they made a
+direct appeal to men of taste. Success was instantaneous. By the year 1765
+Harunobu had come to the front and distanced all competitors for popular
+favour. The serenity and compelling charm of his compositions brought him
+wide fame. Realizing the possibilities that now lay before him, he proudly
+exclaimed, "Why should I degrade myself by the delineation of actors?" His
+ambition, he said, was to become "the true successor of the painters in
+the department of printing"; that is to say, to design prints that should
+be worthy substitutes for paintings. Instead of restricting himself to a
+few primary or secondary hues and the variations resulting from their
+superposition, he mixed his colours to get the precise tint desired, and
+he used as many colour-blocks as were needed for the effects at which he
+aimed. The Yedo-y�, or Yedo pictures, as the prints had been called from
+the fact that they were produced only at the eastern capital, were now
+denominated nishiki-y�, or brocade pictures, from the number of colours
+woven together in them. To the printing itself, the charging of the blocks
+with colour, the character and quality of the pigments and of the paper
+used, Harunobu gave careful attention, and these things were greatly
+improved as a result of his experiments.
+
+Under his leadership the art now entered upon the period of its greatest
+triumphs. In the eager search for novel subjects scarcely anything was
+left untouched. History, mythology, and romance, the numberless f�tes and
+merrymakings of the people and the daily routine of their lives,
+representations of celebrated poets and heroes, scenes from the drama,
+portraits of popular actors and courtesans, the revels of the Yoshiwara,
+animals and plants, familiar scenes and famous landscapes, furnished
+motives for almost endless broadsheets and book illustrations. No other
+art was ever more crowded with human interest.
+
+The forward movement in print-designing at this epoch was helped on by a
+number of highly gifted artists who seem to have worked together to some
+extent. Katsukawa Shunsho�, who took up the theatrical branch of
+print-designing that Harunobu scorned, is one of the most distinguished
+masters of the Ukiyo� school. He was a designer of marked power, a
+colourist of the first rank. His works are not yet appreciated as they
+should be, but the finest of them yield pure aesthetic delight of most
+exalted quality. Kitao Shigemasa, Ippitsusai Buncho�, and Isoda Koryusai
+also rank among the first-rate men of this period. In the contest for
+popular favour during the ten years following the death of Harunobu, which
+took place in the summer of 1770, it has been said that the guerdon rested
+upon Koryusai, but that is a mistake, for both Shunsho� and Shigemasa
+stood higher in the estimation of qualified judges. All, however, were
+surpassed a few years later by Kiyonaga, the last great artist of the
+Torii line and the culminating figure in the history of the Popular
+School. He conquered by the rugged strength and marvellous quality of his
+brush-strokes, by the richness of his colouring and the ripe mastery he
+displayed over all the resources of his craft. But also he created a new
+type of design--that which found expression in the great diptychs and
+triptychs that stand as the triumphs of colour-printing. At the height of
+his power his influence over his contemporaries was so great that, without
+exception, the younger men among them copied his style as closely as they
+could.
+
+When Kiyonaga, about 1793, stopped designing prints, the decadence had
+already set in. The decade that followed was a period of rapid
+deterioration, with Utamaro as its particular evil genius. Yet many of the
+most splendid of the prints were produced in that decade. Where shall we
+look for anything finer than Eishi's wonderful series with the chocolate
+background, or his triptychs of the Prince Genji series? Where shall we
+find anything to equal the brilliant characterization of Sharaku's actor
+portraits? Where else shall we turn for such marvellously facile rhythmic
+line, such swift, vital handling as that which made Utamaro's masterpieces
+the despair of his many imitators? Toyokuni also designed many fine
+prints; but as he was a man of less force than the others I have named, he
+fell faster and farther than they did, and fewer of his works command our
+admiration.
+
+                 [HARUNOBU.  The Sleeping Elder Sister.]
+
+                  HARUNOBU.  The Sleeping Elder Sister.
+
+
+I have left myself little time to speak of two eminent artists, both of
+them world-renowned, who by their genius made the latter years of the
+Ukiyo� school as notable in their way as any in its entire history. Either
+Hokusai or Hiroshige might well engage our attention for an entire
+evening. Both were extraordinarily prolific; Hokusai was the more
+versatile and has the wider reputation. Both are among the greatest
+landscape artists the world has ever known. Their numerous prints of
+landscapes are a revelation of the possibilities of originality in
+composition and variety of interest in this field. Unless one has studied
+these prints in fine examples, it is impossible to realize how great is
+their merit. This is true of all the prints, but particularly true of
+Hiroshige's. Between the best impressions and the very good ones the
+difference is really astonishing. But the best are so extremely rare as to
+make it probable that because of the difficulty and the cost of printing,
+very few of them were issued--the publishers finding cheaper editions more
+profitable.
+
+Though classed as Ukiyo� artists, Hokusai and Hiroshige really represent a
+separate movement which undoubtedly would have crystallized into a
+distinct school had worthy followers arisen to carry it forward, had the
+times been different, and, last but not least, had the genius of the two
+masters been less transcendent.
+
+In this sketch of the history of the art of Ukiyo� colour-printing only
+the more salient features have been touched upon. Of the prints themselves
+it is not too much to say that the finest of them are the most beautiful
+specimens of printing that have been done in any land at any time.
+
+Yet none but the most primitive methods--or what from our point of view may
+seem such--were employed. The most wonderful among all the prints is but a
+"rubbing" or impression taken by hand from wood blocks. The artist having
+drawn the design with the point of a brush in outline upon thin paper, it
+was handed over to the engraver, who began his part of the work by pasting
+the design face downward upon a flat block of wood, usually cherry, sawn
+plankwise as in the case of the blocks used by European wood-engravers in
+the time of D�rer. The paper was then scraped at the back until the design
+showed through distinctly in every part. Next, the wood was carefully cut
+away, leaving the lines in relief, care being taken to preserve faithfully
+every feature of the brush-strokes with which the drawing was executed. A
+number of impressions were then taken in Chinese ink from this "key block"
+and handed to the artist to fill in with colour. This ingenious plan,
+which is manifestly an outgrowth of the early custom of colouring the ink
+prints (sumi-y�) by hand, and which perhaps would never have been thought
+of had not the colour itself been an afterthought, enabled the artist to
+try many experiments in colour arrangement with a minimum amount of
+labour. The colour scheme and ornamentation of the surfaces having been
+determined, the engraver made as many subsidiary blocks(5) as were
+required, the parts meant to take the colour being left raised and the
+rest cut away. Accurate register was secured by the simplest of devices. A
+right-angled mark engraved at the lower right-hand corner of the original
+block, and a straight mark in exact line with its lower arm at the left,
+were repeated upon each subsequent block, and, in printing, the sheets
+were laid down so that their lower and right-hand edges corresponded with
+the marks so made. The defective register which may be observed in many
+prints was sometimes caused by unequal shrinking or swelling of the
+blocks. In consequence of this, late impressions are often inferior to the
+early ones, even though printed with the same care, and from blocks that
+had worn very little. The alignment will usually be found to be exact upon
+one side of the print, but to get further out of register as the other
+side is approached.
+
+The printing was done on moist paper with Chinese ink and colour applied
+to the blocks with flat brushes. A little rice paste was usually mixed
+with the pigments to keep them from running and to increase their
+brightness. Sometimes dry rice flour was dusted over the blocks after they
+were charged. To this method of charging the blocks much of the beauty of
+the result may be attributed. The colour could be modified, graded, or
+changed at will, the blocks covered entirely or partially. Hard,
+mechanical accuracy was avoided. Impressions differed even when the
+printer's aim was uniformity. Sometimes, in inking the "key block," which
+was usually the last impressed, some of the lines would fail to receive
+the pigment, or would be overcharged. This was especially liable to happen
+when the blocks were worn and the edges of the lines became rounded. A
+little more or a little less pigment sometimes made a decided difference
+in the tone of the print, and, it may be noted, has not infrequently
+determined the nature and the extent of the discolouration wrought by
+time.
+
+                 [HARUNOBU.  The Sleeping Elder Sister.]
+
+                  HARUNOBU.  The Sleeping Elder Sister.
+
+
+In printing, a sheet of paper was laid upon the block and the printer
+rubbed off the impression, using for the purpose a kind of pad called a
+_baren._ This was applied to the back of the paper and manipulated with a
+circular movement of the hand. By varying the dampness of the paper and
+the degree of pressure the colour could be forced deep into the paper, or
+left upon the outer fibres only, so that the whiteness of those below the
+surface would shine through, giving the peculiar effect of light which is
+seen at its best in some of the surimono (prints designed for distribution
+at New Year's or other particular occasions) by Hokusai and his
+contemporaries. Uninked blocks were used for embossing portions of the
+designs. The skill of the printer was a large factor in producing the best
+results. Even the brilliancy of the colour resulted largely from his
+manipulation of the pigments and various little tricks in their
+application. The first impressions were not the best, some forty or fifty
+having to be pulled before the block would take the colour properly. Many
+kinds of paper were used. For the best of the old prints it was thick,
+spongy in texture, and of an almost ivory tone. The finest specimens were
+printed under the direct personal supervision of the artists who designed
+them. Every detail was looked after with the utmost care. No pains were
+spared in mixing the tints, in charging the blocks, in laying on the paper
+so as to get the best possible impressions. Experiments were often tried
+by varying the colour schemes. Prints of important series, as, for
+example, Hokusai's famous "Thirty-six Views of Fuji," are met with in
+widely divergent colourings.
+
+The pigments most frequently used were comparatively few, and different
+lots of the same pigment seem to have been far from uniform in hue. As to
+this and some other points upon which we should be glad to have light, no
+very certain information exists. We do not know how soon some of the
+colours began to fade. Internal evidence indicates that in some instances
+the change took place within a comparatively short time, as in the case of
+the lovely blue used by Harunobu and Shunsho� chiefly as a colour for sky
+and water. It appears to have been a compound tint formed of blue mixed
+with some other colour to modify its intensity. In the change which
+followed--possibly a chemical one--the blue disappeared in whole or in part,
+leaving in its stead a buff hue having peculiar depth and a soft, velvety
+texture. To our eyes the modified colour is often far more beautiful than
+the original, but the variation, it may safely be asserted, was not
+desired by the artist.
+
+The quality of the colour wrought by these changes explains why it is not
+possible to-day to reproduce the prints successfully. The printing process
+is still in use, and, as the plates in such publications as "Kokka"
+attest, very splendid results are still yielded by it. But some of the old
+pigments cannot now be obtained; and if they could be, we should still
+have to wait long years for time to mellow the prints made with them.
+Indigo can be had, but it is not the same indigo and its colour is not
+quite like the old, which was extracted from blue cloth imported from
+China. Beni can be made, but the secret of the blue added to it to produce
+the divine violet seen in many of the prints has been lost, as has that of
+the precious moss-green used by Utamaro. Many reproductions have been made
+during the last twenty-five years, and some of them are extremely clever;
+but the printing lacks depth, and when placed beside the old works they
+appear dull and lifeless.
+
+Colour-prints were made for many purposes. To some extent they were used
+as advertisements. Incidentally they served as fashion plates. Some were
+regularly published and sold in shops. Others were designed expressly upon
+orders from patrons, to whom the entire edition--sometimes a very small
+one--was delivered. The number struck from any block, or set of blocks,
+varied widely. Of the more popular prints many editions were printed, each
+one, as might be expected, inferior to those that preceded it. Not
+infrequently the Yedo publishers removed from their out-of-date blocks the
+marks showing their imprint, and sold them to publishers in Osaka and
+Nagoya, by whom poor and cheap editions were issued. Eiraku-ya of Nagoya,
+in particular, is said to have bought many old blocks, some of which were
+revamped in various ways before being reprinted.
+
+                 [HARUNOBU.  The Sleeping Elder Sister.]
+
+                  HARUNOBU.  The Sleeping Elder Sister.
+
+
+In a number of instances, when blocks had worn out or had been
+accidentally destroyed in the fires by which Yedo was ravaged, the artists
+were called upon to make new drawings of the same subjects. Usually, in
+such cases, the second design differed very little from the first, save in
+such details as the patterns upon the garments of the figures and the
+styles of hair arrangement, which invariably reflected the current mode.
+Kiyonaga's "Iris Garden" and his well-known triptych "Ushiwaka Serenading
+Jorurihime" are notable examples of this practice. Two designs of each of
+these were issued, the intervals between the appearance of the first and
+second being, in each instance, about three or four years. For the later
+editions of many of the prints designed by Harunobu changes were made in
+the blocks, and the number was sometimes increased and sometimes
+decreased. After his death re-engravings of a number of his prints appear
+to have been made, as well as forged works in imitation of his style to
+which his name was attached.
+
+Most of the prints were sold at the time of publication for a few sen. The
+finer ones brought relatively higher prices, and such prints as the great
+triptychs and still larger compositions by Kiyonaga, Eishi, Toyokuni,
+Utamaro, and other leading artists could never have been very cheap. In
+general, however, the price was small and they were regarded as ephemeral
+things. Many were used to ornament the small screens that served to
+protect kitchen fires from the wind, and in this use were inevitably
+soiled and browned by smoke. Others, made into kakemono or mounted upon
+the sliding partitions of the houses, perished in the fires by which
+Japanese cities have been devastated; or, if in houses that chanced safely
+to run the gauntlet of fires, typhoons, cloudbursts, and other mishaps,
+their colours faded and their surfaces were rubbed until little more than
+dim outlines were left. These lost prints include a very large proportion
+of those that were most beautiful, and especially of those having
+inoffensive subjects.
+
+Fortunately, though the upper classes did not consider the prints as works
+of art, that did not prevent them from buying them for the entertainment
+they afforded. The samurai, though they considered it degrading to take
+part in the amusements of the lower classes and affected to despise the
+vulgarity of the theatre, sometimes attended the performances in disguise.
+And when they returned to their home provinces with their feudal lords
+after the six months of every year spent in the capital, they usually
+carried with them large quantities of prints. Country people visiting Yedo
+rarely returned without taking many of these cheap souvenirs of the city
+to distribute among their neighbours. Of course many were destroyed, but
+the Japanese have always been accustomed to take care of their
+possessions, and so many thousands of prints were neatly packed away in
+boxes and placed in the kuras, or fireproof storehouses. There they were
+often spoiled by mildew, the dread foe of the Japanese housewife, and
+eaten by insects. Those pasted in albums, as were many of the noted series
+by Hokusai and Hiroshige, fared better than the loose ones.
+
+                    [HARUNOBU.  Woman reading Letter.]
+
+                     HARUNOBU.  Woman reading Letter.
+
+
+Thus it has come about that in spite of the enormous number printed,
+really choice specimens are very rare. Of many of the most important only
+two or three copies in good condition are known. Even at the time of their
+issue the number of those in what may be called the "proof" state could
+not have been large. The best printing, as has already been pointed out,
+was not only difficult and relatively expensive--perhaps prohibitively
+expensive in many instances except for a small number of impressions--but
+when the blocks had worn so that the edges of the finest lines had lost
+their sharpness, it was quite impossible. Collections of prints were
+rarely made. Literary men often saved such as were inscribed with odes of
+especial merit, or had recondite meanings that appealed to them, and to
+their care we are indebted for the preservation of the majority of those
+that have survived in perfect or nearly perfect condition.
+
+For those who have learned the elements of their language the charm of the
+prints is very great. I should perhaps say the charm of some of the prints
+is very great; for, as we learn what we ought to admire, we learn to
+discriminate, at first between the works of the different artists, then
+between different works by the same artist, and finally between different
+copies of the same work. The truth is that the prints are only in a remote
+sense to be spoken of as reproductions. Each impression is more or less an
+individual work of art; the difference in quality between one and another
+is often astonishingly wide.
+
+In conclusion it may be well to specify briefly some of the qualities in
+the prints that appeal to people of taste. In the first place, there is
+the compelling charm of colour. Equally notable are excellence of
+composition, grace, beauty, and sweep of line, distinctive character,
+daringness of conception, and perfect balance of both line and mass.
+Collectively the prints furnish the clearest exemplification of the basic
+principles of design that the world has to offer. Nowhere else can we find
+so much accomplished with simple means. Technically, also, they fulfil
+every requirement. Considered merely as wood-engravings, they are of the
+first order of excellence. Though the drawing is seldom scientifically
+accurate, it is, nevertheless, of exquisite refinement and subtlety. In
+short, the best prints are creative works of very high order which amply
+justify our admiration because of their intrinsic merit.
+
+             [KORYUSAI.  Musume leaping from Temple Balcony.]
+
+              KORYUSAI.  Musume leaping from Temple Balcony.
+
+
+
+
+
+CATALOGUE OF A LOAN COLLECTION OF JAPANESE COLOUR-PRINTS
+
+
+THE JAPAN SOCIETY OF NEW YORK
+
+
+FIFTH AVENUE BUILDING. APRIL 19 TO MAY 19, 1911
+
+
+
+
+INTRODUCTION
+
+
+The leading masters of the Ukiyo� school were a group of very great
+artists. The names of Kiyonaga, Harunobu, Okumura Masanobu, Utamaro,
+Hokusai, and Hiroshige belong in the category of those whose fame is
+world-wide.
+
+                        [SHUNSHO.  Woman in Red.]
+
+                         SHUNSHO.  Woman in Red.
+
+
+The finest of the colour-prints designed by these men and their
+fellow-artists are masterpieces of rare distinction. This does not mean
+that all of their works should be so classed. The method by which the
+prints were produced enabled the artists to turn them out rapidly, and
+many were made that were trivial in character. They served almost as many
+purposes in their time as engravings, etchings, lithographs, and the
+photographic process reproductions do with us to-day. Naturally they
+varied widely in merit and in quality. Many have been preserved, but the
+important prints by the greater artists are unfortunately very rare; few
+of them have survived the vicissitudes of time, and fewer still in good
+condition.
+
+The inception of the Ukiyo� school dates back to the early years of the
+seventeenth century, when a painter named Iwasa Matahei, departing from
+the traditional subjects of the painters of the classic schools, made
+pictures of dancing-girls and scenes of every-day life. The first prints
+were made about 1660 by Hishikawa Moronobu and were in simple black
+outline. They were sometimes coloured by hand with a few touches of colour
+roughly laid on, probably by the publisher's assistants.
+
+In the early years of the seventeenth century a style of colouring known
+as _tan-y�_ (from the predominant use of a red-lead pigment known as tan)
+came into vogue. A little later prints were sold with more elaborate
+hand-colouring. Lacquer was mixed with the pigments to give them
+brilliancy, and the prints were known as _urushi-y�,_ or lacquer prints.
+In or about the year 1742 Okumura Masanobu began to make the first true
+colour-prints. For these he used only two colours, green and a soft red
+called _beni,_ and the prints were known as _beni-y�._ For some years
+difficulties connected with the printing prevented the use of more than
+two colour-blocks, and not until 1764 was a method discovered which made
+it possible to use as many blocks as might be required. Suzuki Harunobu
+was the first artist to take advantage of the discovery. The prints
+designed by him during the next six years are among the finest works of
+the school. Under his guidance and that of Katsukawa Shunsho, the art of
+colour-printing was brought to perfection. Then followed a period when
+many prints of precious quality were produced. The culmination was reached
+during the seventeen hundred and eighties, when Torii Kiyonaga turned out
+his marvellous single sheets, diptychs, and triptychs.
+
+Many splendid prints were designed in the next decade. It was then that
+Eishi made his delightful triptychs, that Sharaku stirred the people of
+Yedo with his wonderful caricature portraits of popular actors, and that
+Utamaro gained wide fame by the products of his facile brush. It was,
+however, a period of decadence, and by the end of the century a
+considerable distance had been travelled upon the downward path.
+
+The prints made in the nineteenth century were, for the most part, coarse
+and gaudy, the chief exceptions being those designed by Hokusai and
+Hiroshige. These men, though classed as of the Ukiyo� school, in reality
+represent what may more properly be termed another "movement" growing out
+of, but distinct from, the Ukiyo� art that reached its apogee under
+Kiyonaga.
+
+While the present exhibition includes specimens of most of the different
+kinds of prints--some of them, more especially the earlier ones, of extreme
+rarity--historical completeness has not been attempted. The aim has been
+rather to show such prints of exceptional quality and beauty as are
+available in New York.
+
+                                                       FREDERICK W. GOOKIN
+
+
+
+
+CATALOGUE
+
+
+
+                            HISHIKAWA MORONOBU
+
+
+Moronobu, who was born probably in 1625 and died in 1695, was the first
+important Japanese artist to design prints. As a painter he is highly
+renowned. He illustrated many books and made a considerable number of
+single-sheet prints, which were all either in plain black or coloured by
+hand. His works are now very rare.(6)
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_    1 Large sumi-y� (ink print)._ Matsukaze-Murasame; a nobleman and two
+      ladies at the seashore watching two women dipping salt water in
+      buckets.
+_    2 Sumi-y�._ A man and a woman seated on the floor of a room.
+_    3 Sumi-y�._ Woman reading from a book to a man reclining on the floor
+      by her side. Near them a maid-servant and utensils containing
+      refreshments.
+
+
+LENT BY A COLLECTOR
+
+
+_    4 Sumi-y�._ Scene in the Yoshiwara.
+
+
+
+                              TORII KIYONOBU
+
+
+Founder of the Torii line and one of the leading artists of the Ukiyo�
+school. Inventor of the tan-y�, or prints coloured by hand with red lead
+(Japanese _tan)_. He was born in 1664 and died on August 22, 1729. His
+style of drawing was characterized by great boldness and vigour.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_    5 Large tan-y�._ The actor Dekijima Hanya as a woman seated upon a
+      sakura tree in bloom.
+_    6 Small tan-y�._ The actor Ikushima Daikichi as a woman holding two
+      small dogs.
+_    7 Small tan-y�._ The actor Kamimura Kichisaburo as a dancing-girl.
+_    8 Large hand-coloured print._ The actor Ikushima Daikichi as an oiran
+      on parade, followed by O�tani Hiroji as a servant holding an
+      umbrella over her.
+_    9 Tall hand-coloured print._ The actor Bando Hikosaburo.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+_   10 Urushi-y�._ Ichikawa Monnosuke as a strolling player carrying a
+      monkey on his back.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+_   11 Urushi-y�._ The elopement of Yaoya Hanbei and O-Chiya.
+
+
+LENT BY A COLLECTOR.
+
+
+_   12 Urushi-y�._ A dancing-girl.
+
+
+
+                              TORII KIYOMASU
+
+
+Eldest son of Kiyonobu, whom he succeeded as the head of the Torii line.
+His work closely resembles that of his father. He was born about 1685 and
+died on January 2, 1764.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+                 [KIYONAGA.  Holiday Group at Gotenyama.]
+
+                  KIYONAGA.  Holiday Group at Gotenyama.
+
+
+_   13 Large sumi-y�._ An actors' boating party on the Sumidagawa.
+_   14 Large tan-y�._ The actors Yoshizawa Ayame and Kanto Koroku.
+_   15 Large tan-y�._ The actors Kanto Koroku and Ikushima Daikichi.
+_   16 Large beni-y�._ Ichikawa Danju�ro� as an enraged warrior.
+_   17 Beni-y�._ Onoe Kikugoro� in a female r�le.
+_   18 Beni-y�._ Scene from a drama. The actors Tomazawa Saijiro� (on
+      horseback), O�tani Hiroji, and Segawa Kikunojo�. The beni has turned
+      to a low-toned yellow.
+_   19 Urushi-y�._ Scene from a drama. O�tani Oniji (on horseback)
+      threatening Sannogawa Ichimatsu in the r�le of a woman who has
+      seized his bridle rein.
+_   20 Beni-y�._ Scene from a drama. Sawamura Soju�ro� as Sasaki no
+      Saburo� and Nakamura Tomiju�ro� as Mago no Koroku.
+
+
+
+                            FURUYAMA MOROMASA
+
+
+Pupil, and perhaps the son, of Moronobu. He devoted himself chiefly to
+painting, but designed a few prints, most of which are ukiy�, or
+perspective pictures, in the style of Okumura Masanobu.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_   21 Large hand-coloured ukiy�, or perspective print._ A game of ken in
+      a room in a nobleman's house.
+
+
+
+                             OKUMURA MASANOBU
+
+
+One of the most eminent of the Ukiyo� artists. His drawings were greatly
+admired for their rare combination of force and refinement, and he
+exercised wide influence over his contemporaries and successors to the end
+of the eighteenth century. He was the first artist to use blocks from
+which prints were coloured in flat tints. These were printed in the red
+known as beni, green, and black, and were known as beni-y�. He was also
+the first artist to make the tall, narrow pillar prints (ha-shira-y�), and
+was the inventor of the perspective prints which he called _ukiy�._ His
+true name was Okumura Genpachi, and he was commonly known as honya
+(bookseller) Genpachi, from the fact that he was the proprietor of a
+wholesale and retail book and print shop at the sign of the "red gourd" in
+Tori-shio cho�, Yedo.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_   22 Large sumi-y�._ Woman seated by a writing-table, reading a book.
+_   23 Urushi-y�._ Bando Hikosaburo as a warrior resisting the opening of
+      a castle door.
+_   24 Tall beni-y�._ A geisha playing upon a samisen.
+_   25 Large sumi-y�._ A woman with a pet cat watching a man dip water
+      from a chozubachi.
+
+
+LENT BY A COLLECTOR
+
+
+_   26 Large beni-y�._ Segawa Kikunojo� as an oiran lighting her pipe at a
+      hibachi in the hands of her kamuro, and Sannogawa Ichimatsu as a man
+      holding an umbrella over her.
+_   27 Undivided beni-y� triptych._ Street scene. A boy kneeling to put on
+      a woman's geta; a man playing upon a shakuhachi; and another man
+      carrying an umbrella.
+_   28 Undivided triptych._ Three women carrying umbrellas.
+
+
+
+                            OKUMURA TOSHINOBU
+
+
+Toshinobu, the son of Masanobu, was an artist of decided talent who died
+young. His known works, which resemble those of his father, are all
+urushi-y�, and were designed about 1730-1736.
+
+
+LENT BY A COLLECTOR
+
+
+   29 Ichimura Uzaemon as a dancing-girl.
+   30 Woman dressing.
+   31 Sanjo Kentaro� in a female r�le.
+
+
+
+                           TSUNEKAWA SHIGENOBU
+
+
+An early Ukiyo� artist of whom little is known. His prints are extremely
+rare.
+
+
+LENT BY A COLLECTOR
+
+
+_   32 Urushi-y�._ Arashi Wakano in the r�le of Shida no Kotaro�.
+
+
+
+                           NISHIMURA SHIGENAGA
+
+
+Son of Shigenobu. Born in 1697 and died in 1756. An artist of ability who
+exercised marked influence upon the development of the school. His prints
+are very uneven in quality.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_   33 Tall hand-coloured print._ The actor Sannogawa Ichimatsu as a woman
+      holding a folded letter.
+
+
+LENT BY A COLLECTOR
+
+
+_   34 Urushi-y�._ Segawa Kikunojo as a woman holding a warrior's helmet.
+_   35 Beni-y�._ Procession of the Corean ambassadors.
+
+
+
+                            ISHIKAWA TOYONOBU
+
+
+One of the most important of the Ukiyo� masters. Born in 1711, died in
+1785. Pupil of Shigenaga, and probably of Masanobu whose style he closely
+assimilated.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_   36 Large beni-y�._ The actors Segawa Kikunojo and Sannogawa Ichimatsu.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+_   37 Wide print from three colour-blocks._ Women and children at the
+      seashore.
+
+
+LENT BY A COLLECTOR.
+
+
+_   38 Tall hand-coloured print._ Segawa Kikunojo� as a woman reading a
+      letter.
+_   39 Two sheets from a beni-y� triptych._ Musume carrying umbrellas.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+_   40 Beni-y�._ Mother and son.
+_   41 Print from three colour-blocks._ Boys rolling a large snowball.
+_   42 Print from three colour-blocks._ Man struggling with a refractory
+      umbrella; a woman looking on.
+
+
+
+                              TORII KIYOHIRO
+
+
+                        [KIYONAGA. Picnic Party.]
+
+                         KIYONAGA. Picnic Party.
+
+
+Pupil of Kiyomasu. His known works are exclusively beni-y�, executed from
+about 1745 to about 1755.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+_   43 Beni-y�._ Nakamura Hatsugoro� as Sakura no Suk�.
+
+
+
+                               TORII SHIRO
+
+
+Known as Kiyonobu the second, all of his prints being signed Torii
+Kiyonobu. He was the eldest son of Kiyomasu. Worked from about 1740 to
+about 1755, when it is probable that his death occurred. Some of the most
+charming of the beni-y� prints are from his hand.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+_   44 Beni-y�._ Yamamoto Iwanojo� as a woman dancing by a fox-trap in a
+      rice field under a blossoming cherry tree.
+
+
+
+TORII KIYOMITSU
+
+
+Second son of Kiyomasu, whom he succeeded as the head of the Torii line.
+An artist of distinction. Was the first to add a third colour-block to the
+original two. He was born in 1735 and died in 1785. After 1765 he designed
+only a few prints, and appears to have designed none later than about
+1768.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_   45 Wide print from three colour-blocks._ The No� performance of
+      "Musume Do�jo�ji."
+_   46 Wide print from three colour-blocks._ Daimyo procession game by
+      women and children.
+_   47 Print from three colour-blocks._ Iwai Hanshiro� as a woman reading
+      a letter while seated upon a carabao.
+_   48 Beni-y�._ Scene from a drama. Ichimura Kamezo� (standing) as Wakemi
+      Goro� and Nakamura Tomiju�ro� as Akoya.
+
+
+
+                             SUZUKI HARUNOBU
+
+
+The central figure in Ukiyo� and the eminent master under whose hand the
+art of colour-printing was brought to perfection in the sixties of the
+eighteenth century. He was a draughtsman of extreme elegance and power,
+and his works have a charm that is peculiarly their own. He died on July
+7, 1770, when, says Shiba Kokan in his book "Kokan Kokai-ki," he "had
+hardly passed his fortieth year."
+
+
+LENT BY SAMUAL ISHAM.
+
+
+   49 Girl attendant in an archery gallery gathering up arrows. One sheet
+      of a diptych.
+   50 A young woman showing a caged bird to a young man seated before her,
+      and surreptitiously taking a love letter from him.
+   51 A vendor of fan mounts stopping to talk to a young woman standing in
+      front of a shop.
+_   52 Hashira-y�._ Woman writing a love letter.
+_   53 Hashira-y�._ Woman holding a pet dog.
+   54 Burlesque scene. Girls carrying Daikoku (the genius of wealth--one of
+      the "Seven Fortune-beings").
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+   55 Girls carrying Daikoku. A later impression with different colouring.
+   56 An archer and two girls near a screen. Calendar for 1765.
+   57 Young woman before a torii, carrying a hammer and nails with which
+      to perform an incantation.
+   58 Two young women on their way to the public bath-house through a
+      storm of snow and rain.
+   59 Two girls on a terrace near a torii, in the time of the
+      cherry-blossoming.
+   60 Two girls gathering mume flowers from a tree overhanging a wall.
+   61 Woman reading a letter by the light of an andon (portable lamp with
+      wind screen) which another woman is trimming.
+   62 Geisha and a young girl standing on the bank near the rapids of the
+      Tamagawa.
+   63 Young woman seated in a window, conversing with another young woman
+      seated on the floor and holding a picture-book.
+   64 Young man removing snow from the geta of a young woman.
+   65 Woman lying upon the floor of a room, reading a book, and another
+      woman standing beside her, holding a pipe.
+   66 Young woman seated on a veranda after her bath, having her back
+      massaged by her maid.
+   67 Young man talking to a girl through the bars of a window.
+   68 A burlesque apparition of Fugen. Instead of the Buddhist divinity, a
+      young woman seated on an elephant appears on a cloud before a priest
+      kneeling in prayer.
+   69 Lovers walking in the snow under an umbrella. One of Harunobu's most
+      distinguished prints.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+   70 The Sleeping Elder Sister. First state. Early impression signed by
+      the printer, Kyosen.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+   71 The Sleeping Elder Sister. Second state. Changes made in the blocks
+      and colouring.
+
+
+LENT BY A COLLECTOR.
+
+
+   72 The Sleeping Elder Sister. Still later impression. Colouring changed
+      again, and the number of blocks increased from ten to thirteen.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+   73 The Hole in the Wall.
+   74 Mother holding her infant son.
+   75 At the entrance gate.
+   76 Mother taking her infant son from another woman and handing her a
+      letter.
+   77 Lovers in a palace.
+
+
+LENT BY A COLLECTOR.
+
+
+   78 Musume walking up a flight of steps leading to a temple.
+   79 Lovers playing battledore and shuttlecock; the young man climbing a
+      ladder to disengage the shuttlecock caught upon the branch of a mume
+      tree.
+_   80 Hashira-y�._ Woman in night attire standing by her bedside reading
+      a letter.
+
+
+
+                               SHIBA KOKAN
+
+
+An artist who is best known as a clever imitator of his master, Harunobu,
+whose signature he forged upon a number of prints. He also used the "go�,"
+or studio name, Harushige in signing prints in the Harunobu manner. In
+later years he painted pictures in semi-European style, and made
+copper-plate engravings which were coloured by hand. He was born in 1747
+and died in 1818.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+   81 The courtyard of a house in the Yoshiwara. A woman reading a letter
+      and a girl attendant standing beside her holding a tray. Signed
+      Harunobu.
+
+
+
+                                SHOSHOKEN
+
+
+This is the pseudonym of an artist of distinction whose identity has not
+been determined. His known works are calendar prints for 1765.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+   82 Stout lady crossing a room in a palace supported by two attendants.
+      The use of gold leaf is notable.
+
+
+
+                             KITAO SHIGEMASA
+
+
+One of the noted artists of the school. Was famous for his skill as a
+calligrapher, being reputed to have no superior in his day in either of
+the "three capitals," Yedo, Kyoto, or Osaka. His prints, which are rare,
+are generally of much distinction. He was born in 1740, and died in the
+second month of Bunsei 3 (February or March, 1820).
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+   83 Children's puppet show.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+_   84 Beni-y�._ Segawa Kikunojo� and Ichimura Uzaemon as Izumo no Okuni
+      and Nagoya Sanza, two komuso, playing upon shaku-hachi.
+
+
+LENT BY A COLLECTOR.
+
+
+   85 Two geishas.
+
+
+
+                              ISODA KORYUSAI
+
+
+The most important pupil of Harunobu, whose style he followed closely in
+his early works. Later he developed a manner of his own. As a designer of
+pillar prints and of prints of birds, he was especially successful. He was
+a samurai and associated with samurai of the superior class. The director
+of the mint was one of his most intimate friends and patrons. About 1781
+he gave up print-designing, devoted himself to painting, and was given the
+honorary title of Hokyo. The dates of his birth and death are not known.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+_   86 Hashira-y�._ Musume leaping from the balcony of Kiyomidzu temple
+      with an umbrella as a parachute.
+   87 Woman standing on the engawa of a house, admiring snow-laden bamboo
+      branches; back of her, a girl and a young boy looking through a
+      window.
+   88 A Yoshiwara beauty arranging flowers; two girl attendants looking
+      on.
+
+
+LENT BY A COLLECTOR.
+
+
+_   89 Hashira-y�._ Musume carrying her infant brother.
+_   90 Hashira-y�._ Young woman poling a boat in a lily-pond.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+   91 A Yoshiwara beauty on parade, attended by a girl and a boy.
+_   92 Hashira-y�._ The bijin Juro�jin. A young woman is represented in
+      place of the long-life being whose attributes are a crane and a
+      tortoise.
+
+
+
+                            KATSUKAWA SHUNSHO
+
+
+A contemporary of Harunobu and one of the greatest of the Ukiyo� artists.
+He was highly renowned in his day and had many pupils who became famous.
+Most of his prints were portraits of actors in character. He was born in
+1726 and died on January 22, 1793.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+   93 Segawa Kikunojo as a woman holding a red fan.
+   94 Two actors in character. The seated figure is Danju�ro�, the leading
+      "star" of the Yedo stage.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+   95 Actor in a female r�le.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+   96 Iwai Hanshiro� as a woman standing and holding a fan behind her.
+   97 Yamashita Kinsaku in a female r�le.
+   98 Actor of the Ichikawa line in the r�le of Shibaraku at the Ichimura
+      theatre.
+   99 O�tani Hiroji as an Amazake vendor.
+_  100 Hashira-y�._ Nobleman carrying a court lady on his back. Probably a
+      parody upon the suicide of Ohan and Choyaemon.
+_  101 Wide hashira-y�._ The Woman in Red.
+
+
+
+                            IPPITSUSAI BUNCHO�
+
+
+An artist of samurai rank who, for a few years, designed actor prints in
+the manner of Shunsho, which have great distinction of style and colour.
+He was celebrated also as a writer of comic odes. He died on May 18, 1796.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+                [BUNCHO.  Actor as Woman talking to Men.]
+
+                 BUNCHO.  Actor as Woman talking to Men.
+
+
+  102 Bando Hikosaburo as a woman of the Yoshiwara talking to a group of
+      men through the mis�.
+  103 Nakamura Tomiju�ro� as Josan no Miya.
+
+            [KIYONAGA. Man and two Women approaching Temple.]
+
+             KIYONAGA. Man and two Women approaching Temple.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+  104 A Yoshiwara beauty accompanied by her kamuro (girl attendant)
+      bearing a cage of fireflies.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  105 Ichikawa Korazo� as a man carrying an actor's dressing-case.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+  106 Scene from a drama. Yamashita Kinsaku as a woman holding a roll of
+      paper, conversing with Ichikawa Komazo�, who holds a letter in his
+      hand.
+
+
+
+                            KATSUKAWA SHUNKO�
+
+
+Pupil of Shunsho and generally regarded as his most talented follower. His
+career as a print-designer was cut short by a stroke of paralysis when he
+was in his forty-fifth or forty-sixth year, but he lived for about forty
+years thereafter as a recluse at Zenfukuji temple, Azabu, Yedo, where he
+died in 1827.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+  107 Iwai Hanshiro in a female r�le.
+  108 The actor Ichikawa Monnosuke.
+  109 Nakamura Tomiju�ro� as a tsuzumi player.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  110 Arashi Tatsuzo as a woman flower-vendor.
+
+
+
+                            KATSUKAWA SHUNYEI
+
+
+Pupil of Shunsho� and an artist of ability. At first, for a short time, he
+called himself Shunjo�. He was born in 1767, and died on December 13,
+1819.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+  111 A bijin.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  112 Ichikawa Monnosuke in a female r�le.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+  113 Scene from the tenth act of "Chushingura."
+  114 Ichikawa Komazo�.
+
+
+
+                             UTAGAWA TOYOHARU
+
+
+Pupil of Toyonobu. As a painter his reputation is justly high. He did not
+design many prints. He was born in 1735 and died on March 3, 1814.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+  114 Cock, hen and chickens.
+
+
+
+                              TORII KIYONAGA
+
+
+Everything considered, the greatest artist of the Ukiyo� school and the
+culminating figure in its forward movement. He was born in 1742 and died
+in 1815. His finest prints were designed between 1780 and 1790.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+  116 The Writing-lesson.
+  117 Fair travellers resting on a bench by the roadside.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+  118 Two geishas entertaining a young man.
+  119 Court ladies on the engawa of a palace.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  120 Three girls going to the baths at the hot springs near Miyanoshita.
+  121 Man and two women masquerading in komuso� attire.
+  122 Group of three women and a boy.
+  123 Two women standing beside a seated geisha who is playing on a
+      samisen.
+  124 Yoshiwara beauty attended by two women (shinzo) and two girls
+      (kamuro).
+  125 Two young women and a servant on the balcony of an inn.
+  126 Family group on their way to a temple for the naming ceremony of the
+      boy who is carried on the shoulders of an attendant.
+  127 An actor and two women examining utensils for the tea ceremony.
+  128 Women and children promenading in summer costume.
+  129 Scene from a drama. Two actors playing the game of "go" with mume
+      blossoms, and a third actor as a woman in the r�le of an umpire
+      standing between them.
+  130 Two young women walking under an umbrella and followed by a servant.
+  131 Man in a black haori approaching a temple through the snow,
+      accompanied by two women.
+_  132 Diptych._ Group of women under a cherry tree.
+_  133 Diptych._ Holiday group under the cherry trees at Gotenyama. One of
+      a series of twelve diptychs that are among Kiyonaga's finest works.
+  134 Boating party under Ryogoku bridge. Two sheets of a triptych.
+_  135 Triptych._ The Peony (botan) Show.
+_  136 Triptych._ Women landing from a pleasure boat.
+
+
+LENT BY A COLLECTOR.
+
+
+_  137 Hashira-y�._ Woman in winter costume.
+_  138 Triptych._ A picnic party under the cherry trees.
+  139 Group of women on the bank of the Sumida river.
+  140 Group of women near a temple.
+  141 Three women at a public bath-house.
+
+
+
+                            KATSUKAWA SHUNCHO
+
+
+Pupil of Shunsho�. Followed the style of Torii Kiyonaga. His works closely
+resemble those of the Torii master, but have less force. Worked from about
+1775 to about 1795. In some of his later prints he imitated Eishi's prints
+in the Utamaro manner. The dates of his birth and death are not known.
+
+
+LENT BY SAMUAL ISHAM.
+
+
+  142 One sheet of a triptych showing a nobleman's mansion from the
+      garden, with the people engaged in various occupations.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  143 Women watching girls bouncing balls.
+_  144 Diptych._ Group at the entrance to a temple.
+  145 Three women in a temple compound.
+
+             [SHUNCHO.  Women watching Girls bouncing Balls.]
+
+              SHUNCHO.  Women watching Girls bouncing Balls.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+  146 Group of girls at a tea booth by the seashore.
+
+
+LENT BY A COLLECTOR.
+
+
+  147 A picnic party. Two sheets of a triptych.
+  148 Women picking wild flowers under a cherry tree in bloom.
+
+
+
+                               HOSODA EISHI
+
+
+One of the foremost artists of the school. He was a samurai of high rank,
+and a pupil of Kano Eisen. For three years before he took to Ukiyo� he
+held an official post in the household of the shogun Iyeharu. Eishi was a
+master of all the resources of the art of colour-printing and his prints
+are characterized by great elegance and refinement. He worked from about
+1782 to 1800, when he gave up print-designing. He died in 1829.
+
+
+LENT BY SAMUAL ISHAM.
+
+
+_  149 Triptych._ Eight women and a man playing the game of "Catch the
+      fox."
+  150 Group of Yoshiwara women and attendants.
+  151 Someyama and her kamuro playing with a pet dog.
+  152 Yoshiwara women admiring a branch of mume tree with unopened flower
+      buds.
+_  153 Triptych._ F�te in a nobleman's palace. Ladies composing poems.
+
+                  [EISHI. F�te in a nobleman's palace.]
+
+                   EISHI. F�te in a nobleman's palace.
+
+
+LENT BY MRS. WILLIAM BENJAMIN WOOD.
+
+
+  154 Another copy of the foregoing triptych. Shows how beautifully the
+      purple changes by chemical decomposition.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  155 Oiran and attendants on parade.
+
+
+LENT BY A COLLECTOR.
+
+
+  156 A Yoshiwara beauty. Ink proof of the key block.
+  157 Two women entering a room in the palace of Prince Genji, where a
+      young girl is seated playing with a kitten.
+
+
+
+                             YEISHOSAI CHOKI
+
+
+An artist of ability, though not quite of the first rank. His prints are
+rare. He worked at first in the style of Kiyonaga. Later he imitated
+Utamaro, and changed his "go�," or studio name, to Momokawa Shiko.
+
+
+LENT BY A COLLECTOR.
+
+
+  158 Woman and child catching fireflies.
+
+
+
+                             TOSHUSAI SHARAKU
+
+
+This artist was by profession a performer of the stately and aristocratic
+No dramas in the service of Hachisuka, Daimyo of Awa. During the period
+from about 1790 to 1795 he designed a small number of caricature portraits
+of actors, which have great force and distinguished character.
+
+
+LENT BY YAMANAKA & COMPANY.
+
+
+  159 The actor(7) Tanimura Torazo� in the r�le of Kakogawa Honzo�.
+  160 Ichikawa Ebizo� in the r�le of Ko no Moronao. This print bears an
+      inscription, probably contemporary, giving the date 1794.
+  161 Onoe Matsusuke as one of the Loyal Ronin.
+  162 Rando Hikosaburo� in the r�le of Yuranosuke.
+  163 Iwai Hanshiro� in the r�le of Oishi, wife of Yuranosuke.
+  164 Ichikawa Monnosuke as one of the Loyal Ronin.
+  165 Morita Kanya as one of the Loyal Ronin.
+  166 Segawa Tominojo� in the r�le of Kaoyo Gozen, wife of Yenya.
+  167 Sawamura Soju�ro� in the r�le of Yenya Hanguwan.
+  168 Arashi Tatsuzo� in the r�le of Yoichibei.
+  169 Sakata Hangoro� as Ten-ichi-bo� Hotaku.
+  170 Segawa Tominojo� and Nakamura Manju�ro� in female r�les.
+  171 Nakajima Utaemon and Nakamura Konozo�.
+  172 Ichikawa Omezo� in the r�le of Sukeroku.
+  173 Matsumoto Koshiro� in the r�le of the otokadat� Banzuin Chobei. This
+      print is commonly known as "The man with the pipe."
+  174 Matsumoto Yonesaburo� in the r�le of Okaru, wife of Kampei.
+  175 Ichikawa Yaozo� in the r�le of Hayano Kampei.
+  176 Kosagawa Tsuneyo� in the r�le of Tonas�, wife of Kakogawa Honzo�.
+  177 O�tani Oniji in the r�le of Sadakuro.
+  178 Sannogawa Ichimatsu in a female r�le.
+ 178a Nakayama Tomisaburo� in the r�le of Komurasaki, and Ichikawa Komazo�
+      as her lover, Shirai Gompachi, walking with her under a huge
+      umbrella.
+
+                          [SHARAKU. Two Actors.]
+
+                           SHARAKU. Two Actors.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+  179 Segawa Tominojo�.
+
+
+
+                             KITAGAWA UTAMARO
+
+
+One of the most gifted and most widely known of the Ukiyo� masters.
+Extraordinarily facile and brilliant. Born in 1753 and died in 1806.
+
+
+LENT BY SAMUAL ISHAM.
+
+
+_  180 Triptych._ Imaginative view of a f�te in a Chinese palace. It is a
+      medley of Chinese and Japanese details intended as a take-off upon
+      the treatment of Chinese subjects by the painters of the classic
+      schools.
+  181 The hour of the Boar (9 to 12 P.M.). One of a set illustrating the
+      twelve hours into which the Japanese day is divided.
+_  182 Diptych._ Women in a nobleman's palace, painting kakemono.
+  183 Yoshiwara beauties on parade.
+ 183a A sheet from the "Washing day" triptych.
+  184 Woman helping a man attire himself in ceremonial dress.
+  185 Woman bending over to see a baby which another woman is nursing
+      while seated before a mirror, arranging her hair.
+  186 Woman talking to a fan-mount vendor.
+_  187 Triptych._ The persimmon-gatherers.
+_  188 Triptych._ Procession of a noble lady and women attendants on their
+      way to a temple, bearing offerings.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+_  189 Triptych._ Shadows on the shoji. Illustrations of three effects of
+      sake (rice wine).
+  190 Woman arranging flowers.
+  191 The kitchen. One sheet of a diptych.
+  192 A night excursion. One of Utamaro's most famous prints.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+  193 Hairdresser combing a girl's hair.
+  194 Woman with a young boy on her back, watching three puppies at play.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+  195 Kitao Masanobu drunk with sake at a f�te in a daimyo's palace. Part
+      of a triptych.
+
+
+LENT BY A COLLECTOR
+
+
+  196 Woman wearing a black zukin, and a maid bearing a lantern.
+  197 Woman standing on a pier, holding an umbrella, and conversing with a
+      man seated under the canopy of a boat.
+  198 Woman bearing a teacup on a lacquer stand.
+  199 Woman raising the mosquito netting over her bed to read a letter by
+      the light of an andon.
+  200 Three performers in a niwaka, or burlesque theatrical procession, in
+      the streets of the Yoshiwara.
+  201 Woman holding in her mouth a "pokan-pokan"--a musical toy of thin
+      glass which makes a peculiar sound when air is blown through it.
+_  202 Triptych._ Boating party.
+_  203 Triptych._ The awab� divers of Is�.
+_  204 Triptych._ Women and children on a bridge.
+
+                   [UTAMARO. Woman with a Musical Toy.]
+
+                    UTAMARO. Woman with a Musical Toy.
+
+
+
+                             UTAGAWA TOYOKUNI
+
+
+A brilliant artist of high repute in his day. Some of his prints,
+especially the earlier ones, are of distinguished quality. He was born in
+1769 and died on February 24, 1825.
+
+
+LENT BY A HAMILTON EASTER FIELD.
+
+
+_  205 Triptych._ Street scene in the Yoshiwara.
+  206 Large head of an actor.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+  207 The actor Koraiya.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  208 Musume raising a large umbrella.
+_  209 Triptych._ Women in a public bath-house.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_  210 Triptych._ The Six Tamagawa, represented by six women washing
+      strips of cloth in a rapid-flowing stream.
+
+
+LENT BY A COLLECTOR
+
+
+  211 Woman accompanied by a maid carrying a lantern.
+_  212 Triptych._ Lady emerging from a kago; her attendants grouped about
+      her.
+
+                    [TOYOKUNI.  Women in Bath House.]
+
+                     TOYOKUNI.  Women in Bath House.
+
+
+
+                            KATSUSHIKA HOKUSAI
+
+
+A master of extraordinary versatility and power. Perhaps the most widely
+known of all the Japanese artists. He was born in 1760 and died in the
+spring of 1849.
+
+  213 Winter landscape.
+  214 Cranes on a snow-laden pine tree.
+  215 Iris.
+  216 Turtles swimming.
+
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+  217 Fuji san seen beneath a wave of the sea at Kanazawa. Hokusai's
+      famous "wave."
+
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  218 View of Fuji from Ushibori; a large boat moored in the foreground.
+
+                     [HOKUSAI.  Fuji from Ushibori.]
+
+                      HOKUSAI.  Fuji from Ushibori.
+
+
+
+LENT BY A COLLECTOR
+
+
+  219 Winter landscape.
+
+
+
+
+                              ANDO HIROSHIGE
+
+
+The last great artist of the Ukiyo� school, and a consummate master of
+landscape art. Born in 1797 and died on October 12, 1858.
+
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+  220 A cold morning at Shono, on the To�kaido�.
+  221 View of Fuji san from Goyo.
+  222 Pine trees on the shore at Hamamatsu.
+  223 Flying kites at Fukuroi.
+  224 The "fox fires" at O�ji.
+  225 Kinryusan, Asakusa, in snow.
+  226 The fields back of Asakusa seen from a window through which a white
+      cat is looking out.
+  227 Travellers in snow at Ishiyakushi.
+
+                    [HIROSHIGE.  Pines at Hammamatsu.]
+
+                     HIROSHIGE.  Pines at Hammamatsu.
+
+
+
+                         LENT BY ALBERT GALLATIN.
+
+
+  228 Evening rain at Azumasha.
+
+
+
+LENT BY A COLLECTOR
+
+
+  229 Autumn moon over the river Tama.
+  230 The evening glow at Setta.
+  231 The crowd in Ni Cho� (Second Street) at night. At the right is the
+      Ichimura theatre, upon which and upon the tea-house across the way
+      are tall signs advertising plays and actors.
+  232 Aowi and bird.
+  233 Pheasant and young pine trees upon a steep hillside.
+  234 Raftsman on the Sumida river in a snow storm.
+
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  235 Shower at Sho�no.
+  236 Gyo�toku; boats returning.
+
+
+
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK JAPANESE COLOUR-PRINTS AND THEIR DESIGNERS***
+
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+        "margin-bottom: 4.00em; margin-top: 4.00em">
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <p class="tei tei-p" style="margin-bottom: 2.00em">The Project
+            Gutenberg EBook of Japanese Colour-Prints and Their Designers by
+            Frederick Gookin</p>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <p class="tei tei-p" style="margin-bottom: 1.00em">This eBook is
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+            online at <a href="http://www.gutenberg.org/license" class=
+            "tei tei-xref">http://www.gutenberg.org/license</a></p>
+          </div>
+          <pre class="pre tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+Title: Japanese Colour-Prints and Their Designers
+
+Author: Frederick Gookin
+
+Release Date: May 25, 2013 [Ebook #42811]
+
+Language: English
+
+Character set encoding: UTF-8
+
+
+***START OF THE PROJECT GUTENBERG EBOOK JAPANESE COLOUR-PRINTS AND THEIR DESIGNERS***
+</pre>
+        </div>
+      </div>
+
+      <div class="tei tei-div" style=
+      "margin-bottom: 5.00em; margin-top: 5.00em"></div><a name="fig1" id=
+      "fig1"></a>
+
+      <div class="tei tei-figure" style="text-align: center">
+        <img src="images/cat069.jpg" alt="HARUNOBU. Lovers walking in Snow."
+        title="HARUNOBU. Lovers walking in Snow." />
+
+        <div class="tei tei-head" style=
+        "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+          HARUNOBU. Lovers walking in Snow.
+        </div>
+      </div>
+      <hr class="doublepage" />
+
+      <div class="tei tei-titlePage" style="text-align: center">
+        <span class="tei tei-docTitle" style=
+        "text-align: center"><span class="tei tei-titlePart" style=
+        "text-align: center"><span style="font-size: 144%">Japanese
+        Colour-Prints and Their Designers</span></span><br />
+        <br />
+        <span class="tei tei-titlePart" style=
+        "text-align: center"><span style="font-size: 120%">A Lecture
+        Delivered Before the Japan Society of New York on April 19,
+        1911</span></span></span>
+
+        <div class="tei tei-byline" style="text-align: center">
+          <br />
+          <br />
+          <br />
+          <br />
+          <br />
+          By <span class="tei tei-docAuthor" style=
+          "text-align: center">Frederick William Gookin</span><br />
+          <br />
+          <br />
+          <br />
+          <br />
+        </div><span class="tei tei-docImprint" style="text-align: center">New
+        York<br />
+        The Japan Society<br />
+        <br /></span> <span class="tei tei-docDate" style=
+        "text-align: center">1913</span>
+      </div>
+      <hr class="doublepage" />
+
+      <div class="tei tei-div" style=
+      "margin-bottom: 5.00em; margin-top: 5.00em">
+        <a name="pdf2" id="pdf2"></a>
+
+        <h1 class="tei tei-head" style=
+        "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em">
+        <span style="font-size: 173%">Contents</span></h1>
+
+        <ul class="tei tei-index tei-index-toc">
+          <li><a href="#toc3">JAPANESE COLOUR-PRINTS AND THEIR
+          DESIGNERS</a></li>
+
+          <li><a href="#toc16">CATALOGUE OF A LOAN COLLECTION OF JAPANESE
+          COLOUR-PRINTS</a></li>
+
+          <li style="margin-left: 2em"><a href="#toc18">INTRODUCTION</a></li>
+
+          <li style="margin-left: 2em"><a href="#toc21">CATALOGUE</a></li>
+        </ul>
+      </div>
+      <hr class="doublepage" />
+
+      <div class="tei tei-div" style=
+      "margin-bottom: 5.00em; margin-top: 5.00em">
+        <h1 class="tei tei-head" style=
+        "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em">
+        <span style="font-size: 173%">Illustrations</span></h1>
+
+        <ul class="tei tei-index tei-index-fig">
+          <li><a href="#fig1">HARUNOBU. Lovers walking in Snow.</a></li>
+
+          <li><a href="#fig5">MORONOBU. Nobleman and two Ladies at
+          Seashore.</a></li>
+
+          <li><a href="#fig6">KIYOMASU. Actors' Boating Party</a></li>
+
+          <li><a href="#fig7">MASANOBU. Geisha playing Samisen.</a></li>
+
+          <li><a href="#fig8">TOYONOBU. Actor reading Letter</a></li>
+
+          <li><a href="#fig9">KIYOMITSU. Daimyo Procession Game.</a></li>
+
+          <li><a href="#fig10">HARUNOBU. Young Woman before Torii.</a></li>
+
+          <li><a href="#fig11">HARUNOBU. The Sleeping Elder Sister.</a></li>
+
+          <li><a href="#fig12">HARUNOBU. The Sleeping Elder Sister.</a></li>
+
+          <li><a href="#fig13">HARUNOBU. The Sleeping Elder Sister.</a></li>
+
+          <li><a href="#fig14">HARUNOBU. Woman reading Letter.</a></li>
+
+          <li><a href="#fig15">KORYUSAI. Musume leaping from Temple
+          Balcony.</a></li>
+
+          <li><a href="#fig20">SHUNSHO. Woman in Red.</a></li>
+
+          <li><a href="#fig23">KIYONAGA. Holiday Group at Gotenyama.</a></li>
+
+          <li><a href="#fig24">KIYONAGA. Picnic Party.</a></li>
+
+          <li><a href="#fig25">BUNCHO. Actor as Woman talking to
+          Men.</a></li>
+
+          <li><a href="#fig26">KIYONAGA. Man and two Women approaching
+          Temple.</a></li>
+
+          <li><a href="#fig27">SHUNCHO. Women watching Girls bouncing
+          Balls.</a></li>
+
+          <li><a href="#fig28">EISHI. Fête in a nobleman's palace.</a></li>
+
+          <li><a href="#fig29">SHARAKU. Two Actors.</a></li>
+
+          <li><a href="#fig30">UTAMARO. Woman with a Musical Toy.</a></li>
+
+          <li><a href="#fig31">TOYOKUNI. Women in Bath House.</a></li>
+
+          <li><a href="#fig32">HOKUSAI. Fuji from Ushibori.</a></li>
+
+          <li><a href="#fig33">HIROSHIGE. Pines at Hammamatsu.</a></li>
+        </ul>
+      </div>
+    </div>
+
+    <div class="tei tei-body" style=
+    "margin-bottom: 6.00em; margin-top: 6.00em">
+      <hr class="doublepage" />
+
+      <div class="tei tei-div" style=
+      "margin-bottom: 5.00em; margin-top: 5.00em">
+        <a name="toc3" id="toc3"></a> <a name="pdf4" id="pdf4"></a>
+
+        <h1 class="tei tei-head" style=
+        "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em">
+        <span style="font-size: 173%">JAPANESE COLOUR-PRINTS AND THEIR
+        DESIGNERS</span></h1><span class="tei tei-pb" id="page3">[pg
+        3]</span>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">In the annals of
+        art production the colour-prints designed by the master artists of
+        the Ukiyoé school occupy a unique place. They represent a plebeian
+        art which was not a spontaneous upgrowth from the soil, but, so to
+        speak, a down-growth or offshoot from an old and highly developed art
+        of aristocratic lineage.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">This elder art had
+        its fountain-head in ancient China. That country, during the Tang and
+        the Sung dynasties (618-905, 960-1280), was the seat of an aesthetic
+        movement during which painting and other arts reached an
+        extraordinarily high development. To the works produced during this
+        great flowering-time of art the Japanese painters of the classical
+        schools turned for inspiration and enlightenment. These works were
+        distinguished by singleness of purpose, rhythmic vitality, and
+        synthetic coherence, and by a clear conception of the essential that
+        goes far beyond anything elsewhere attained, and which, when fully
+        apprehended, must inevitably force a revision of Western ideas and
+        criteria.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">The art of ancient
+        China and of the earlier Japanese schools is an art refined, poetic,
+        and intensive to the last degree. It is based upon profound
+        understanding of aesthetic laws. The artists were carefully grounded
+        in the fundamental principles that govern all art, whether Oriental
+        or Occidental. The result of this training is apparent in the
+        homogeneity of their works. In Europe very confused notions have
+        prevailed as to what should be done and what is permissible in art.
+        Not even the great artists have always seen clearly; had they done
+        so, it cannot be doubted that Western achievement would have attained
+        a much higher level than it has ever reached.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">In the Japanese
+        modifications of the ancient Chinese art its traditions <span class=
+        "tei tei-pb" id="page4">[pg 4]</span> and aesthetic ideals were
+        sedulously preserved. With only rare exceptions, the artists—and
+        under this head it is necessary to include potters, lacquerers,
+        metal-workers, swordsmiths, and others—were drawn from the upper
+        classes. Many of them were in the service of the daimyo, and did not
+        sell their productions, but received from their noble patrons regular
+        stipends in koku of rice. Seldom did any of their works find their
+        way into the hands of the common people, who had little opportunity,
+        therefore, to become familiar with them. Gradually, however, as the
+        number of paintings, statues, and other art objects multiplied and
+        the temples were filled with votive offerings, the classical art made
+        its impress upon buildings, wearing apparel, and utensils of all
+        sorts; its conventions and principles were laid hold of by all
+        classes and became the heritage of the entire people.</p><a name=
+        "fig5" id="fig5"></a>
+
+        <div class="tei tei-figure" style="text-align: center">
+          <img src="images/cat001.jpg" alt=
+          "MORONOBU. Nobleman and two Ladies at Seashore." title=
+          "MORONOBU. Nobleman and two Ladies at Seashore." />
+
+          <div class="tei tei-head" style=
+          "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+            MORONOBU. Nobleman and two Ladies at Seashore.
+          </div>
+        </div>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">The social fabric
+        in old Japan was one of sharp distinctions. At the upper end of the
+        scale were the Emperor; the kuge, or court nobles; the daimyo, or
+        lords of the two hundred and fifty-one provinces; and the samurai, or
+        hereditary military men, from whom were recruited the officials,
+        priests, and scholars. Between these and the lower classes was an
+        almost immeasurable gulf. Highest among the heimen, or commoners,
+        were the farmers. Below them were the artisans, and still lower were
+        the merchants, innkeepers, servants, and the like; while lowest of
+        all were the eta, or outcasts, a class comprising scavengers,
+        butchers, leather-workers, and others engaged in what were considered
+        degrading occupations.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">Under the peaceful
+        regime of the Tokugawa shoguns there was a sociological change that
+        in the cities almost amounted to a transformation. The most salient
+        feature was the rise of the tradesmen and artisans to wealth and
+        power. Many places of amusement sprang up, restaurants and tea-houses
+        multiplied, jugglers, story-tellers, musicians, and other itinerant
+        entertainers found audiences in every street, fêtes were frequently
+        held in the temple compounds, the theatre rose to a position of
+        prominence, and the yukwaku, or courtesan quarters, with their medley
+        of attractions, became established institutions.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">The art of the
+        Ukiyoé was a direct outcome of the gay life of this time. The
+        inception of the school dates back to the closing years of the
+        <span class="tei tei-pb" id="page5">[pg 5]</span> sixteenth century,
+        when a reaction set in against the Chinese classicism of the Ashikaga
+        period. This manifested itself in the choice of Japanese instead of
+        Chinese subjects, and in novel treatment in which features of both
+        the classic Kano and Tosa styles were combined, but which in many
+        respects broke away from academic traditions. The reputed leader of
+        the revolt was Iwasa Shoi, better known as Matahei, son of the Daimyo
+        of Itami; but other distinguished artists, notably Kano Sanraku, also
+        painted pictures in the new manner, which was not then held to
+        constitute a distinct school. The subjects being drawn from the life
+        of the people, these pictures were called Ukiyoé. É is the Japanese
+        term for a picture or drawing.<a id="noteref_1" name="noteref_1"
+        href="#note_1"><span class="tei tei-noteref"><span style=
+        "font-size: 60%; vertical-align: super">1</span></span></a> Ukiyo, as
+        originally written, had a Buddhistic signification and was applied to
+        the secular as distinguished from the ecclesiastical world. Literally
+        the word means <span class="tei tei-q">“the miserable world,”</span>
+        but as now used it may be more accurately translated as <span class=
+        "tei tei-q">“the passing (or floating) world of every-day
+        life.”</span></p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">Perhaps for the
+        reason that Ukiyoé themes were not considered quite dignified, and
+        because they did not express poetic ideas, the Ukiyo paintings of
+        Matahei and his contemporaries and successors, though prized and much
+        sought after, were seldom signed, and the identification of their
+        authorship is a matter of extreme difficulty. For more than half a
+        century works in this manner continued to be produced in considerable
+        numbers, but the movement did not crystallize into a school until, in
+        the person of Hishikawa Moronobu, a leader appeared to give it form
+        and direction. Moronobu was an artist of rare distinction. His
+        paintings were eagerly sought by the daimyos and the wealthier
+        samurai. But Moronobu was a man of the people, and it was as a
+        designer of book illustrations and later of ichimai-yé, or
+        single-sheet prints, that he gave the impetus to Ukiyoé. For fifty
+        years or more prior to his time books with engraved illustrations had
+        been published in Japan, but they were comparatively few and the
+        illustrations were poor and crudely executed. The twelve drawings
+        Moronobu made for a book of instruction for women in etiquette and
+        hygiene, published in 1659, marked a decided advance. This, so far as
+        we know, <span class="tei tei-pb" id="page6">[pg 6]</span> was the
+        first of a long series of books illustrated by him. Their popularity
+        was deservedly great, and by them his fame became wide-spread. The
+        illustrations were printed in black from blocks similar to those from
+        which the text was printed, and were characterized by fine broad
+        treatment and a rather wiry but strong and expressive outline.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">About 1670
+        Moronobu began to issue large single-sheet prints which could be
+        affixed to screens or mounted as kakemono. These prints, which were
+        impressions in black from one block only, are known as
+        sumi-yé—<em class="tei tei-emph"><span style=
+        "font-style: italic">sumi</span></em> being the Japanese name for
+        Chinese—or, as we incorrectly call it, India—ink. They were designed
+        to be coloured by hand, and apparently a part of the edition was so
+        coloured before being placed on sale by the publishers. At first this
+        colouring consisted of a few touches of yellow-green crudely laid on;
+        later it became more elaborate, and occasionally we meet with prints
+        that are very beautifully coloured, but in such cases it is
+        impossible to tell when or by whom the colouring was done. The
+        probability is that in some instances it was the work of purchasers
+        of the prints.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">Moronobu's pupils,
+        of whom there were many, devoted themselves almost exclusively to
+        painting. After his death in 1695, the production of prints fell
+        chiefly into the hands of Torii Kiyonobu and his son Torii Kiyomasu,
+        two artists who take rank among the most talented men of the Ukiyoé
+        school. Moronobu had taken for the subjects of his prints historic
+        incidents, the manners and customs of the people, and, in particular,
+        women and their occupations and amusements. To these the Torii
+        artists, seeing a new and fertile field for the print-designer in the
+        rise of the theatre as a popular form of entertainment, added
+        portraits of actors in the costumes of their most admired rôles.
+        Especially esteemed were Kiyonobu's portraits of the first
+        DanjuÌroÌ. During the Genroku period (1688-1704) the people
+        developed a passion for the theatre that amounted to veritable
+        madness. In the first quarter of the eighteenth century this reached
+        a height that sorely troubled the Tokugawa rulers. To check it
+        various expedients—among them the exclusion of women from the
+        stage—were tried. They only added fuel to the flame. Certain gross
+        practices were abolished. This helped to purify the theatre, but also
+        to perpetuate it by removing the seeds <span class="tei tei-pb" id=
+        "page7">[pg 7]</span> of what must inevitably have meant its early
+        decay. Actors of distinguished ability became popular idols. Their
+        comings and goings were like royal progresses. Wherever they went,
+        were it to view the cherry blossoms at Ueno, for a boating party on
+        the river, or for a visit to the Yoshiwara, they moved in state. Yet
+        their rank in the social scale was so low that they were looked upon
+        as little better than eta. The earliest actors were contemptuously
+        termed <em class="tei tei-emph"><span style=
+        "font-style: italic">kawara-mono</span></em> (river-bed folk), from
+        the fact that the first theatrical performances in Japan were upon a
+        stage erected in the dry bed of the Kamogawa at Kyoto. The stigma
+        that attached to their origin and to the vulgarity of the early
+        performances has never been entirely lifted. Many of the Ukiyoé
+        artists felt it a degradation to make drawings of actors.
+        Nevertheless the popular demand created a supply, and for more than a
+        century a large proportion of the enormous output of prints consisted
+        of theatrical scenes and portraits of the performers.</p><a name=
+        "fig6" id="fig6"></a>
+
+        <div class="tei tei-figure" style="text-align: center">
+          <img src="images/cat013.jpg" alt="KIYOMASU. Actors' Boating Party"
+          title="KIYOMASU. Actors' Boating Party" />
+
+          <div class="tei tei-head" style=
+          "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+            KIYOMASU. Actors' Boating Party
+          </div>
+        </div>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">Many of the prints
+        produced during the early years of the eighteenth century were large
+        single figures of actors, geishas, and women of the Yoshiwara. These
+        were broadly treated, with strong, free brush-strokes based upon the
+        technique of the Kano masters and quite different from Moronobu's
+        style, which was more nearly like that of the Tosa painters. Each of
+        the classical schools, I may explain, had its own peculiar methods,
+        for which brushes of special shape were required. In their
+        spontaneity, their freedom, their glorious sweep of line, these
+        prints are among the finest works of the Ukiyoé school. Among them
+        are many masterpieces of linear composition. Yet by the people of the
+        upper classes they were regarded as hopelessly vulgar. Though the
+        Kano painters used similar sweeping strokes, they laid great stress
+        upon carefully modulated tone. The notan, or lightness and darkness
+        of the ink in different parts of the drawing, was an essential
+        quality. It should not be confused with chiaroscuro, the science of
+        light and shade. Notan signifies merely difference in lightness and
+        darkness of tone. In the early prints this did not appear. All the
+        lines were uniformly black. And the addition of colouring which was
+        looked upon as coarse and gaudy was a further offence to persons of
+        refined taste.</p><span class="tei tei-pb" id="page8">[pg 8]</span>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">Our vision not
+        being hampered by the canons of the Kano academy, we can appreciate
+        the distinguished character of these compositions. Unquestionably the
+        brush-work of a Sesshu, a Motonobu, or a Tanyu—to name a few only of
+        the most eminent of the Japanese painters—has a precious quality not
+        to be found in any printed line.<a id="noteref_2" name="noteref_2"
+        href="#note_2"><span class="tei tei-noteref"><span style=
+        "font-size: 60%; vertical-align: super">2</span></span></a>
+        Nevertheless the primitive Ukiyoé prints have a freshness and vital
+        force peculiarly their own. The word <span class=
+        "tei tei-q">“primitive”</span> as applied to these prints calls for a
+        word of explanation. They are primitive, not in their art, which is
+        highly developed, but merely as regards its application to
+        wood-engraving.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">The failure of
+        Japanese connoisseurs to appreciate Ukiyoé art is not, however,
+        entirely or even principally because of its technique. The art of the
+        classical schools is deeply imbued with poetic feeling and usually is
+        dignified in subject. Ukiyoé art, on the contrary, is flippant,
+        whimsical, comic. Except when it deals with portraits, landscapes, or
+        birds and flowers—subjects that are not strictly Ukiyoé—it is seldom
+        that the things depicted are intended to be taken quite seriously. In
+        nearly every picture there is some joke, open or cleverly hidden,
+        some amusing fantasy in the shape of a modern analogue or travesty of
+        popular myth, well-known tale, or historical event. Sly hits at the
+        vices or follies of the aristocrats are not uncommon. A very large
+        proportion of the subjects deals with the theatre and the denizens of
+        the Yoshiwara. To the Japanese of the upper classes Ukiyoé art was a
+        synonym for the art of the underworld. It is not surprising that they
+        failed to appreciate its merit. To give Ukiyoé paintings or prints an
+        honourable place in one's house was a confession of lack of taste.
+        Were there no other reason, the subjects for the most part rendered
+        them unfit, if not impossible. The prints were indeed amusing, and
+        therefore many of them were saved; but they were looked upon much as
+        we regard the pictures in our comic periodicals. Even when the art in
+        these is good, it is hard to disassociate it from the humour and to
+        enjoy it for itself alone. More commonly we fail to appreciate it as
+        art or even to think of it as such. So it was with the prints. To the
+        Japanese they <span class="tei tei-pb" id="page9">[pg 9]</span>
+        appeared little better than children's toys. In considering this we
+        should not overlook the important circumstance that when first
+        printed they were in general less charming than they are to-day. The
+        wonderful colour that makes them so entrancing has come in large
+        measure through the mellowing influence of time. Not infrequently
+        this has wrought transformations that would seem incredible did not
+        close study show clearly the changes that have taken
+        place.</p><a name="fig7" id="fig7"></a>
+
+        <div class="tei tei-figure" style="text-align: center">
+          <img src="images/cat024.jpg" alt=
+          "MASANOBU. Geisha playing Samisen." title=
+          "MASANOBU. Geisha playing Samisen." />
+
+          <div class="tei tei-head" style=
+          "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+            MASANOBU. Geisha playing Samisen.
+          </div>
+        </div>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">Even to-day
+        inherited prejudice prevents wide-spread appreciation of the prints
+        in the land of their origin. Our enthusiastic admiration is still
+        more or less a mystery to our neighbours across the Pacific. Only
+        now, when most of the fine prints have passed into the hands of
+        European and American collectors, are the Japanese connoisseurs
+        beginning to understand how it is that the Western art-lover,
+        unfettered by any traditional point of view and not disturbed by any
+        meanings the subject may hold or suggest, is able to perceive the
+        glorious colour, the superb composition, the masterly treatment and
+        rare beauty to which they have been blind.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">The history of art
+        is everywhere among civilized peoples a record of the influence of a
+        succession of ideas, each in turn dominating for a longer or a
+        shorter period the character of what is produced. When an idea has
+        sufficient vitality to constitute the germ of a specific type of art,
+        and artists of creative genius are inspired by it, the votaries
+        working under the stimulus of a common ideal form what we designate
+        as a school. <span class="tei tei-q">“When left to pursue its course
+        of development unchecked,”</span> each marked type of art, as John
+        Addington Symonds pointed out in one of his essays, <span class=
+        "tei tei-q">“passes through stages corresponding to the embryonic,
+        the adolescent, the matured, the decadent, and the exhausted,”</span>
+        This sequence, he showed, was clearly marked in the evolution of
+        Italian painting, the Attic and the Elizabethan drama. Any of the
+        classic schools of Japanese painting, the Kosé, the Yamato, the
+        Sesshu, or the Kano, would furnish an excellent illustration, though
+        in studying these movements it would be necessary to follow them back
+        to their Chinese antecedents. The Ukiyoé school affords a
+        particularly striking example. In the works of the earlier
+        artists—Moronobu, Kiyonobu, Kiyomasu, and the KwaigetsudoÌ group—we
+        find <span class="tei tei-pb" id="page10">[pg 10]</span>
+        superabundant vigour, swift inspiration, and splendid though
+        sometimes brutal force. The note of prophecy that these works contain
+        is found also in those of the next generation of artists, foremost
+        among whom was Okumura Masanobu. The fire of enthusiasm still glows
+        brightly, but more attention is paid to subtleties of style, to
+        beauty of detail, and to the development of technical processes.
+        Hand-coloured prints are superseded by those in which the colour as
+        well as the black outline is printed. Ukiyoé has become an art of the
+        printed pictures which in large measure have taken the place of
+        paintings.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">Then, after a
+        brief interval of eager experiment and rapid changes, comes the
+        flowering-time, when a group of great artists turn out by the
+        thousand works in which spiritual intensity is combined with grace,
+        beauty, refinement of composition, and technical perfection. This is
+        the epoch of Harunobu, ShunshoÌ, Shigemasa, Koryusai, Kiyonaga, and
+        ShunchoÌ.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">The decline of the
+        initial impetus that brought the school into being is plainly
+        apparent in the works of the next generation. Utamaro was an artist
+        of the very first rank, whose genius cannot be gainsaid; Eishi and
+        Toyokuni were only a little less brilliant; but it was their
+        misfortune to come upon the scene when the cycle of animating ideas
+        had been exhausted. Too virile to be content merely to echo the
+        performances of their predecessors, they spent their energy in
+        inventing variations upon the perfected type. It was the only course
+        open to them, but it led steadily and swiftly downward, though
+        neither the artists nor the people who gleefully applauded each
+        successive innovation were conscious of the decadence.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">With the
+        appearance of still another generation of artists upon the scene, the
+        degradation of the school was complete. Artistic feeling was obscured
+        by blatant vulgarity and affectation. There was a steady letting down
+        to the level of the popular taste, which was steadily lowered in
+        consequence. The skill of the more able artists was expended in the
+        production of works interesting chiefly as <em class=
+        "tei tei-emph"><span style="font-style: italic">tours de
+        force,</span></em> more remarkable for technical than for artistic
+        merit; the tendency toward exaggerated drawing became more
+        pronounced; colouring grew more crude, raw, and over-vivid.
+        Coincident with this decline in the art of <span class="tei tei-pb"
+        id="page11">[pg 11]</span> the Popular School was a change for the
+        worse in the fashions of the time. Loud patterns for brocades and
+        other fabrics came into vogue; garments became showy and elaborate;
+        coiffures, more especially those of the demi-monde, were often
+        startling in their extravagance. As the prints were accurate mirrors
+        of contemporary life, in these changed fashions may be found a
+        partial explanation of the inferiority of the works of the later men.
+        The Ukiyoé RyuÌ was a school of design which laid its impress upon
+        all of the arts. The prints were but one of its phases, though the
+        principal and the most distinguished of them. The rise, culmination,
+        and disintegration took place all along the line. Toward the middle
+        of the nineteenth century the Ukiyoé school sank into the dotage of
+        decrepitude, and then into the sleep from which there is no
+        awakening. I choose this phrase deliberately. An art that is of the
+        past can never be revived. We may strive to work in the style of
+        Harunobu or of Kiyonaga. All we can do is to copy their forms and
+        imitate their mannerisms. We cannot possibly get our inspiration from
+        the same source as they; that dried up at the fountain-head long ago.
+        The best work we can do in their style must necessarily lack creative
+        force and be without a spark of real vitality.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">Primarily the
+        charm of the Ukiyoé colour-prints is due to the fact that the leading
+        masters of the school were artists of exceptional power. It is also
+        due to the fact that most of them<a id="noteref_3" name="noteref_3"
+        href="#note_3"><span class="tei tei-noteref"><span style=
+        "font-size: 60%; vertical-align: super">3</span></span></a> made
+        print-designing their chief occupation, to which they devoted their
+        thought, time, and skill, and that with rare exceptions they were
+        less distinguished as painters.</p><a name="fig8" id="fig8"></a>
+
+        <div class="tei tei-figure" style="text-align: center">
+          <img src="images/cat038.jpg" alt="TOYONOBU. Actor reading Letter"
+          title="TOYONOBU. Actor reading Letter" />
+
+          <div class="tei tei-head" style=
+          "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+            TOYONOBU. Actor reading Letter
+          </div>
+        </div>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">From about 1670,
+        when Moronobu began to issue single-sheet prints, until about 1742, a
+        period of at least seventy years, the prints were in black outline
+        and were coloured by hand. They were, in fact, cheap paintings. Early
+        in the eighteenth century the chief pigment used in colouring them
+        was red lead. The Japanese name for this pigment is tan, and the
+        prints upon which it appears are designated as tan-yé. About 1710
+        yellow and citrine were commonly used with the tan. Four or five
+        years later a new style of hand-colouring, said to have been
+        <span class="tei tei-pb" id="page12">[pg 12]</span> devised by Torii
+        Kiyonobu, came into vogue and greatly modified the style in which the
+        prints were designed. In place of tan he substituted beni, a very
+        beautiful but fugitive red extracted from the saffron. This was used
+        in combination with a greenish yellow (probably gamboge) and
+        low-toned blues and purples. Finer details were introduced into the
+        designs, and the colouring in general was more carefully done. In
+        response to a growing demand for less expensive pieces smaller prints
+        (hoso-yé) became common. To give brilliance to the pigments a little
+        thin lacquer (urushi) was mixed with them, and, while wet, parts of
+        the design were sprinkled with metallic powder, which was probably
+        applied by blowing it through a small bamboo tube. These prints were
+        known as urushi-yé, or lacquer prints. A little later the custom grew
+        up of painting parts of the prints with black lacquer.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">Not until the year
+        1742 did the practice begin of applying colour by impressions from
+        flat wood blocks. Why the invention should have been so long delayed,
+        and why, after it was once made, nearly fourteen years more should
+        have elapsed before the number of colour-blocks was increased beyond
+        two, are questions to which no certain answer is yet forthcoming. It
+        is incredible that during the forty years when innumerable
+        hand-coloured prints were issued no one should have conceived the
+        idea of printing the colour as well as the black outline. Without
+        doubt some practical difficulty connected with the printing stood in
+        the way. Possibly the thing that awaited discovery was the trick of
+        mixing rice paste with the colour to keep it from running. Or, as is
+        more likely, it took a long while to discover a practical method of
+        securing accurate register in impressions made upon damp paper which
+        was liable to stretch or shrink during the printing process. Whatever
+        the problem may have been, the honour of the solution is due to
+        Okumura Masanobu. Being a publisher as well as an artist, he was no
+        doubt alive to the economic advantage of a cheaper process and to the
+        attraction of novelty. Some years earlier he had invented the
+        hashira-yé, or pillar-print, and had also put forth a series of
+        prints that show a fair understanding of the laws of linear
+        perspective to which he gave the name of Ukiyé. Being an artist as
+        well as a publisher, Masanobu perceived that the change in process
+        called for a change in the <span class="tei tei-pb" id="page13">[pg
+        13]</span> style of the designs. The very first of the new prints,
+        therefore, were characterized by finer and more exquisite detail than
+        was suitable for the hand-coloured editions. The colours used were
+        beni and a soft green; and the name beni-yé, which had been applied
+        to the hand-coloured prints in which beni was used, was also given to
+        them. A happier selection of colours could not have been made. By
+        thinning the red and modifying the hue of the green a wide range of
+        effects was secured. Almost every possible combination and variation
+        was tried during the fourteen or fifteen years that the beni-yé were
+        in vogue. The world is far richer because of this long period before
+        the number of colour-blocks was increased, since time was afforded to
+        work out the decorative possibilities resulting from the limitation
+        to two colours and black and white. This limitation demanded fine
+        skill and creative resource in the invention of pattern and the
+        distribution of the colours employed.<a id="noteref_4" name=
+        "noteref_4" href="#note_4"><span class="tei tei-noteref"><span style=
+        "font-size: 60%; vertical-align: super">4</span></span></a> The
+        results achieved were remarkable. Until one has seen them it is
+        impossible to realize that so much life and vivacity of colouring
+        could be given by impressions from two blocks charged with rose and
+        green.</p><a name="fig9" id="fig9"></a>
+
+        <div class="tei tei-figure" style="text-align: center">
+          <img src="images/cat046.jpg" alt=
+          "KIYOMITSU. Daimyo Procession Game." title=
+          "KIYOMITSU. Daimyo Procession Game." />
+
+          <div class="tei tei-head" style=
+          "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+            KIYOMITSU. Daimyo Procession Game.
+          </div>
+        </div>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">By many the
+        beni-yé are regarded as the choicest products of the school. So
+        charming were they when first printed that they speedily drove the
+        urushi-yé prints out of the market, with the exception of the tall
+        hashira-yé, or pillar prints, of which hand-coloured editions
+        continued to be produced for a year or two, to satisfy those who
+        still wished paintings rather than prints. Most of the beni-yé that
+        have survived until our time are very much faded. The beni has quite
+        generally turned into a soft yellow or disappeared altogether. The
+        green is more stable, but that also has in many instances become a
+        warm citrine or russet. Extremely rare are the specimens in which the
+        original colour has not suffered material modification.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">From the testimony
+        of the prints themselves it appears probable that very soon after
+        Okumura Masanobu issued the first prints in beni and green, similar
+        prints were put forth by Nishimura Shigenaga, Ishikawa <span class=
+        "tei tei-pb" id="page14">[pg 14]</span> Toyonobu, Torii Shiro
+        (otherwise Kiyonobu the second), and all the Yedo print-designers,
+        among them the veteran Torii Kiyomasu. None of these men seems to
+        have attempted any marked departure from the type established by
+        Okumura. About 1755, however, a group of young men appeared upon the
+        scene, who were fired with zeal for further experiments. The leaders
+        were Torii Kiyomitsu, Kitao Shigemasa, and Suzuki Harunobu. Kiyomitsu
+        began by trying novel colour schemes such as two tones of beni
+        instead of beni and green. Then he tried a third colour-block. After
+        this new developments followed in rapid succession. The variety and
+        range of the colour schemes broadened almost from day to day. At
+        first the wider resources proved an embarrassment, but the mastery
+        attained in dealing with the simpler means soon enabled the artists
+        to take advantage of them. Invention was stimulated. In 1764 a
+        printer named Kinroku discovered a method by which printing in
+        colours from many blocks became possible. We can only guess at the
+        nature of the difficulty that was surmounted; but as it is known that
+        the printing was usually done upon dampened paper, it is evident that
+        the stretching or shrinking of the sheets, to which I have already
+        referred, must have proved extremely troublesome, and that every
+        additional block must have multiplied the liability to defective
+        register. It is reasonably safe to assume, therefore, that to find
+        some means of overcoming this was the problem which remained unsolved
+        for so many years.</p><a name="fig10" id="fig10"></a>
+
+        <div class="tei tei-figure" style="text-align: center">
+          <img src="images/cat057.jpg" alt=
+          "HARUNOBU. Young Woman before Torii." title=
+          "HARUNOBU. Young Woman before Torii." />
+
+          <div class="tei tei-head" style=
+          "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+            HARUNOBU. Young Woman before Torii.
+          </div>
+        </div>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">The name of Suzuki
+        Harunobu is familiar to every admirer of Japanese prints. It is in
+        large measure to his genius that the development of full-colour
+        printing is due. He was not only the first artist to make use of the
+        new process, but he took advantage of it to bring out prints of a
+        novel type. Very dainty and graceful these were, and in the poetic
+        allusions or quiet humour with which they were charged, and in the
+        quality of the brush-strokes with which the drawings were executed,
+        they made a direct appeal to men of taste. Success was instantaneous.
+        By the year 1765 Harunobu had come to the front and distanced all
+        competitors for popular favour. The serenity and compelling charm of
+        his compositions brought him wide fame. Realizing the possibilities
+        that now lay before him, he proudly exclaimed, <span class=
+        "tei tei-q">“Why should I degrade <span class="tei tei-pb" id=
+        "page15">[pg 15]</span> myself by the delineation of actors?”</span>
+        His ambition, he said, was to become <span class="tei tei-q">“the
+        true successor of the painters in the department of printing”</span>;
+        that is to say, to design prints that should be worthy substitutes
+        for paintings. Instead of restricting himself to a few primary or
+        secondary hues and the variations resulting from their superposition,
+        he mixed his colours to get the precise tint desired, and he used as
+        many colour-blocks as were needed for the effects at which he aimed.
+        The Yedo-yé, or Yedo pictures, as the prints had been called from the
+        fact that they were produced only at the eastern capital, were now
+        denominated nishiki-yé, or brocade pictures, from the number of
+        colours woven together in them. To the printing itself, the charging
+        of the blocks with colour, the character and quality of the pigments
+        and of the paper used, Harunobu gave careful attention, and these
+        things were greatly improved as a result of his experiments.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">Under his
+        leadership the art now entered upon the period of its greatest
+        triumphs. In the eager search for novel subjects scarcely anything
+        was left untouched. History, mythology, and romance, the numberless
+        fêtes and merrymakings of the people and the daily routine of their
+        lives, representations of celebrated poets and heroes, scenes from
+        the drama, portraits of popular actors and courtesans, the revels of
+        the Yoshiwara, animals and plants, familiar scenes and famous
+        landscapes, furnished motives for almost endless broadsheets and book
+        illustrations. No other art was ever more crowded with human
+        interest.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">The forward
+        movement in print-designing at this epoch was helped on by a number
+        of highly gifted artists who seem to have worked together to some
+        extent. Katsukawa ShunshoÌ, who took up the theatrical branch of
+        print-designing that Harunobu scorned, is one of the most
+        distinguished masters of the Ukiyoé school. He was a designer of
+        marked power, a colourist of the first rank. His works are not yet
+        appreciated as they should be, but the finest of them yield pure
+        aesthetic delight of most exalted quality. Kitao Shigemasa,
+        Ippitsusai BunchoÌ, and Isoda Koryusai also rank among the
+        first-rate men of this period. In the contest for popular favour
+        during the ten years following the death of Harunobu, which took
+        place in the summer of 1770, it has been said that the guerdon rested
+        upon Koryusai, but that is a mistake, <span class="tei tei-pb" id=
+        "page16">[pg 16]</span> for both ShunshoÌ and Shigemasa stood higher
+        in the estimation of qualified judges. All, however, were surpassed a
+        few years later by Kiyonaga, the last great artist of the Torii line
+        and the culminating figure in the history of the Popular School. He
+        conquered by the rugged strength and marvellous quality of his
+        brush-strokes, by the richness of his colouring and the ripe mastery
+        he displayed over all the resources of his craft. But also he created
+        a new type of design—that which found expression in the great
+        diptychs and triptychs that stand as the triumphs of colour-printing.
+        At the height of his power his influence over his contemporaries was
+        so great that, without exception, the younger men among them copied
+        his style as closely as they could.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">When Kiyonaga,
+        about 1793, stopped designing prints, the decadence had already set
+        in. The decade that followed was a period of rapid deterioration,
+        with Utamaro as its particular evil genius. Yet many of the most
+        splendid of the prints were produced in that decade. Where shall we
+        look for anything finer than Eishi's wonderful series with the
+        chocolate background, or his triptychs of the Prince Genji series?
+        Where shall we find anything to equal the brilliant characterization
+        of Sharaku's actor portraits? Where else shall we turn for such
+        marvellously facile rhythmic line, such swift, vital handling as that
+        which made Utamaro's masterpieces the despair of his many imitators?
+        Toyokuni also designed many fine prints; but as he was a man of less
+        force than the others I have named, he fell faster and farther than
+        they did, and fewer of his works command our admiration.</p><a name=
+        "fig11" id="fig11"></a>
+
+        <div class="tei tei-figure" style="text-align: center">
+          <img src="images/cat070.jpg" alt=
+          "HARUNOBU. The Sleeping Elder Sister." title=
+          "HARUNOBU. The Sleeping Elder Sister." />
+
+          <div class="tei tei-head" style=
+          "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+            HARUNOBU. The Sleeping Elder Sister.
+          </div>
+        </div>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">I have left myself
+        little time to speak of two eminent artists, both of them
+        world-renowned, who by their genius made the latter years of the
+        Ukiyoé school as notable in their way as any in its entire history.
+        Either Hokusai or Hiroshige might well engage our attention for an
+        entire evening. Both were extraordinarily prolific; Hokusai was the
+        more versatile and has the wider reputation. Both are among the
+        greatest landscape artists the world has ever known. Their numerous
+        prints of landscapes are a revelation of the possibilities of
+        originality in composition and variety of interest in this field.
+        Unless one has studied these prints in fine examples, it is
+        impossible to realize how great is their <span class="tei tei-pb" id=
+        "page17">[pg 17]</span> merit. This is true of all the prints, but
+        particularly true of Hiroshige's. Between the best impressions and
+        the very good ones the difference is really astonishing. But the best
+        are so extremely rare as to make it probable that because of the
+        difficulty and the cost of printing, very few of them were issued—the
+        publishers finding cheaper editions more profitable.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">Though classed as
+        Ukiyoé artists, Hokusai and Hiroshige really represent a separate
+        movement which undoubtedly would have crystallized into a distinct
+        school had worthy followers arisen to carry it forward, had the times
+        been different, and, last but not least, had the genius of the two
+        masters been less transcendent.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">In this sketch of
+        the history of the art of Ukiyoé colour-printing only the more
+        salient features have been touched upon. Of the prints themselves it
+        is not too much to say that the finest of them are the most beautiful
+        specimens of printing that have been done in any land at any
+        time.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">Yet none but the
+        most primitive methods—or what from our point of view may seem
+        such—were employed. The most wonderful among all the prints is but a
+        <span class="tei tei-q">“rubbing”</span> or impression taken by hand
+        from wood blocks. The artist having drawn the design with the point
+        of a brush in outline upon thin paper, it was handed over to the
+        engraver, who began his part of the work by pasting the design face
+        downward upon a flat block of wood, usually cherry, sawn plankwise as
+        in the case of the blocks used by European wood-engravers in the time
+        of Dürer. The paper was then scraped at the back until the design
+        showed through distinctly in every part. Next, the wood was carefully
+        cut away, leaving the lines in relief, care being taken to preserve
+        faithfully every feature of the brush-strokes with which the drawing
+        was executed. A number of impressions were then taken in Chinese ink
+        from this <span class="tei tei-q">“key block”</span> and handed to
+        the artist to fill in with colour. This ingenious plan, which is
+        manifestly an outgrowth of the early custom of colouring the ink
+        prints (sumi-yé) by hand, and which perhaps would never have been
+        thought of had not the colour itself been an afterthought, enabled
+        the artist to try many experiments in colour arrangement with a
+        minimum amount of labour. The colour scheme and ornamentation of the
+        surfaces having been determined, the <span class="tei tei-pb" id=
+        "page18">[pg 18]</span> engraver made as many subsidiary blocks<a id=
+        "noteref_5" name="noteref_5" href="#note_5"><span class=
+        "tei tei-noteref"><span style=
+        "font-size: 60%; vertical-align: super">5</span></span></a> as were
+        required, the parts meant to take the colour being left raised and
+        the rest cut away. Accurate register was secured by the simplest of
+        devices. A right-angled mark engraved at the lower right-hand corner
+        of the original block, and a straight mark in exact line with its
+        lower arm at the left, were repeated upon each subsequent block, and,
+        in printing, the sheets were laid down so that their lower and
+        right-hand edges corresponded with the marks so made. The defective
+        register which may be observed in many prints was sometimes caused by
+        unequal shrinking or swelling of the blocks. In consequence of this,
+        late impressions are often inferior to the early ones, even though
+        printed with the same care, and from blocks that had worn very
+        little. The alignment will usually be found to be exact upon one side
+        of the print, but to get further out of register as the other side is
+        approached.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">The printing was
+        done on moist paper with Chinese ink and colour applied to the blocks
+        with flat brushes. A little rice paste was usually mixed with the
+        pigments to keep them from running and to increase their brightness.
+        Sometimes dry rice flour was dusted over the blocks after they were
+        charged. To this method of charging the blocks much of the beauty of
+        the result may be attributed. The colour could be modified, graded,
+        or changed at will, the blocks covered entirely or partially. Hard,
+        mechanical accuracy was avoided. Impressions differed even when the
+        printer's aim was uniformity. Sometimes, in inking the <span class=
+        "tei tei-q">“key block,”</span> which was usually the last impressed,
+        some of the lines would fail to receive the pigment, or would be
+        overcharged. This was especially liable to happen when the blocks
+        were worn and the edges of the lines became rounded. A little more or
+        a little less pigment sometimes made a decided difference in the tone
+        of the print, and, it may be noted, has not infrequently determined
+        the nature and the extent of the discolouration wrought by
+        time.</p><a name="fig12" id="fig12"></a>
+
+        <div class="tei tei-figure" style="text-align: center">
+          <img src="images/cat071.jpg" alt=
+          "HARUNOBU. The Sleeping Elder Sister." title=
+          "HARUNOBU. The Sleeping Elder Sister." />
+
+          <div class="tei tei-head" style=
+          "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+            HARUNOBU. The Sleeping Elder Sister.
+          </div>
+        </div>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">In printing, a
+        sheet of paper was laid upon the block and the printer rubbed off the
+        impression, using for the purpose a kind of pad called <span class=
+        "tei tei-pb" id="page19">[pg 19]</span> a <em class=
+        "tei tei-emph"><span style="font-style: italic">baren.</span></em>
+        This was applied to the back of the paper and manipulated with a
+        circular movement of the hand. By varying the dampness of the paper
+        and the degree of pressure the colour could be forced deep into the
+        paper, or left upon the outer fibres only, so that the whiteness of
+        those below the surface would shine through, giving the peculiar
+        effect of light which is seen at its best in some of the surimono
+        (prints designed for distribution at New Year's or other particular
+        occasions) by Hokusai and his contemporaries. Uninked blocks were
+        used for embossing portions of the designs. The skill of the printer
+        was a large factor in producing the best results. Even the brilliancy
+        of the colour resulted largely from his manipulation of the pigments
+        and various little tricks in their application. The first impressions
+        were not the best, some forty or fifty having to be pulled before the
+        block would take the colour properly. Many kinds of paper were used.
+        For the best of the old prints it was thick, spongy in texture, and
+        of an almost ivory tone. The finest specimens were printed under the
+        direct personal supervision of the artists who designed them. Every
+        detail was looked after with the utmost care. No pains were spared in
+        mixing the tints, in charging the blocks, in laying on the paper so
+        as to get the best possible impressions. Experiments were often tried
+        by varying the colour schemes. Prints of important series, as, for
+        example, Hokusai's famous <span class="tei tei-q">“Thirty-six Views
+        of Fuji,”</span> are met with in widely divergent colourings.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">The pigments most
+        frequently used were comparatively few, and different lots of the
+        same pigment seem to have been far from uniform in hue. As to this
+        and some other points upon which we should be glad to have light, no
+        very certain information exists. We do not know how soon some of the
+        colours began to fade. Internal evidence indicates that in some
+        instances the change took place within a comparatively short time, as
+        in the case of the lovely blue used by Harunobu and ShunshoÌ chiefly
+        as a colour for sky and water. It appears to have been a compound
+        tint formed of blue mixed with some other colour to modify its
+        intensity. In the change which followed—possibly a chemical one—the
+        blue disappeared in whole or in part, leaving in its stead a buff hue
+        having peculiar depth and a soft, velvety texture. To our
+        <span class="tei tei-pb" id="page20">[pg 20]</span> eyes the modified
+        colour is often far more beautiful than the original, but the
+        variation, it may safely be asserted, was not desired by the
+        artist.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">The quality of the
+        colour wrought by these changes explains why it is not possible
+        to-day to reproduce the prints successfully. The printing process is
+        still in use, and, as the plates in such publications as <span class=
+        "tei tei-q">“Kokka”</span> attest, very splendid results are still
+        yielded by it. But some of the old pigments cannot now be obtained;
+        and if they could be, we should still have to wait long years for
+        time to mellow the prints made with them. Indigo can be had, but it
+        is not the same indigo and its colour is not quite like the old,
+        which was extracted from blue cloth imported from China. Beni can be
+        made, but the secret of the blue added to it to produce the divine
+        violet seen in many of the prints has been lost, as has that of the
+        precious moss-green used by Utamaro. Many reproductions have been
+        made during the last twenty-five years, and some of them are
+        extremely clever; but the printing lacks depth, and when placed
+        beside the old works they appear dull and lifeless.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">Colour-prints were
+        made for many purposes. To some extent they were used as
+        advertisements. Incidentally they served as fashion plates. Some were
+        regularly published and sold in shops. Others were designed expressly
+        upon orders from patrons, to whom the entire edition—sometimes a very
+        small one—was delivered. The number struck from any block, or set of
+        blocks, varied widely. Of the more popular prints many editions were
+        printed, each one, as might be expected, inferior to those that
+        preceded it. Not infrequently the Yedo publishers removed from their
+        out-of-date blocks the marks showing their imprint, and sold them to
+        publishers in Osaka and Nagoya, by whom poor and cheap editions were
+        issued. Eiraku-ya of Nagoya, in particular, is said to have bought
+        many old blocks, some of which were revamped in various ways before
+        being reprinted.</p><a name="fig13" id="fig13"></a>
+
+        <div class="tei tei-figure" style="text-align: center">
+          <img src="images/cat072.jpg" alt=
+          "HARUNOBU. The Sleeping Elder Sister." title=
+          "HARUNOBU. The Sleeping Elder Sister." />
+
+          <div class="tei tei-head" style=
+          "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+            HARUNOBU. The Sleeping Elder Sister.
+          </div>
+        </div>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">In a number of
+        instances, when blocks had worn out or had been accidentally
+        destroyed in the fires by which Yedo was ravaged, the artists were
+        called upon to make new drawings of the same subjects. Usually, in
+        such cases, the second design differed very little from the first,
+        save in such details as the patterns upon the garments of the
+        <span class="tei tei-pb" id="page21">[pg 21]</span> figures and the
+        styles of hair arrangement, which invariably reflected the current
+        mode. Kiyonaga's <span class="tei tei-q">“Iris Garden”</span> and his
+        well-known triptych <span class="tei tei-q">“Ushiwaka Serenading
+        Jorurihime”</span> are notable examples of this practice. Two designs
+        of each of these were issued, the intervals between the appearance of
+        the first and second being, in each instance, about three or four
+        years. For the later editions of many of the prints designed by
+        Harunobu changes were made in the blocks, and the number was
+        sometimes increased and sometimes decreased. After his death
+        re-engravings of a number of his prints appear to have been made, as
+        well as forged works in imitation of his style to which his name was
+        attached.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">Most of the prints
+        were sold at the time of publication for a few sen. The finer ones
+        brought relatively higher prices, and such prints as the great
+        triptychs and still larger compositions by Kiyonaga, Eishi, Toyokuni,
+        Utamaro, and other leading artists could never have been very cheap.
+        In general, however, the price was small and they were regarded as
+        ephemeral things. Many were used to ornament the small screens that
+        served to protect kitchen fires from the wind, and in this use were
+        inevitably soiled and browned by smoke. Others, made into kakemono or
+        mounted upon the sliding partitions of the houses, perished in the
+        fires by which Japanese cities have been devastated; or, if in houses
+        that chanced safely to run the gauntlet of fires, typhoons,
+        cloudbursts, and other mishaps, their colours faded and their
+        surfaces were rubbed until little more than dim outlines were left.
+        These lost prints include a very large proportion of those that were
+        most beautiful, and especially of those having inoffensive
+        subjects.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">Fortunately,
+        though the upper classes did not consider the prints as works of art,
+        that did not prevent them from buying them for the entertainment they
+        afforded. The samurai, though they considered it degrading to take
+        part in the amusements of the lower classes and affected to despise
+        the vulgarity of the theatre, sometimes attended the performances in
+        disguise. And when they returned to their home provinces with their
+        feudal lords after the six months of every year spent in the capital,
+        they usually carried with them large quantities of prints. Country
+        people visiting Yedo rarely returned without taking <span class=
+        "tei tei-pb" id="page22">[pg 22]</span> many of these cheap souvenirs
+        of the city to distribute among their neighbours. Of course many were
+        destroyed, but the Japanese have always been accustomed to take care
+        of their possessions, and so many thousands of prints were neatly
+        packed away in boxes and placed in the kuras, or fireproof
+        storehouses. There they were often spoiled by mildew, the dread foe
+        of the Japanese housewife, and eaten by insects. Those pasted in
+        albums, as were many of the noted series by Hokusai and Hiroshige,
+        fared better than the loose ones.</p><a name="fig14" id="fig14"></a>
+
+        <div class="tei tei-figure" style="text-align: center">
+          <img src="images/cat080.jpg" alt="HARUNOBU. Woman reading Letter."
+          title="HARUNOBU. Woman reading Letter." />
+
+          <div class="tei tei-head" style=
+          "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+            HARUNOBU. Woman reading Letter.
+          </div>
+        </div>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">Thus it has come
+        about that in spite of the enormous number printed, really choice
+        specimens are very rare. Of many of the most important only two or
+        three copies in good condition are known. Even at the time of their
+        issue the number of those in what may be called the <span class=
+        "tei tei-q">“proof”</span> state could not have been large. The best
+        printing, as has already been pointed out, was not only difficult and
+        relatively expensive—perhaps prohibitively expensive in many
+        instances except for a small number of impressions—but when the
+        blocks had worn so that the edges of the finest lines had lost their
+        sharpness, it was quite impossible. Collections of prints were rarely
+        made. Literary men often saved such as were inscribed with odes of
+        especial merit, or had recondite meanings that appealed to them, and
+        to their care we are indebted for the preservation of the majority of
+        those that have survived in perfect or nearly perfect condition.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">For those who have
+        learned the elements of their language the charm of the prints is
+        very great. I should perhaps say the charm of some of the prints is
+        very great; for, as we learn what we ought to admire, we learn to
+        discriminate, at first between the works of the different artists,
+        then between different works by the same artist, and finally between
+        different copies of the same work. The truth is that the prints are
+        only in a remote sense to be spoken of as reproductions. Each
+        impression is more or less an individual work of art; the difference
+        in quality between one and another is often astonishingly wide.</p>
+
+        <p class="tei tei-p" style="margin-bottom: 1.00em">In conclusion it
+        may be well to specify briefly some of the qualities in the prints
+        that appeal to people of taste. In the first place, there is the
+        compelling charm of colour. Equally notable are excellence of
+        composition, grace, beauty, and sweep of line, distinctive character,
+        <span class="tei tei-pb" id="page23">[pg 23]</span> daringness of
+        conception, and perfect balance of both line and mass. Collectively
+        the prints furnish the clearest exemplification of the basic
+        principles of design that the world has to offer. Nowhere else can we
+        find so much accomplished with simple means. Technically, also, they
+        fulfil every requirement. Considered merely as wood-engravings, they
+        are of the first order of excellence. Though the drawing is seldom
+        scientifically accurate, it is, nevertheless, of exquisite refinement
+        and subtlety. In short, the best prints are creative works of very
+        high order which amply justify our admiration because of their
+        intrinsic merit.</p><span class="tei tei-pb" id="page24">[pg
+        24]</span> <a name="fig15" id="fig15"></a>
+
+        <div class="tei tei-figure" style="text-align: center">
+          <img src="images/cat086.jpg" alt=
+          "KORYUSAI. Musume leaping from Temple Balcony." title=
+          "KORYUSAI. Musume leaping from Temple Balcony." />
+
+          <div class="tei tei-head" style=
+          "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+            KORYUSAI. Musume leaping from Temple Balcony.
+          </div>
+        </div>
+      </div><span class="tei tei-pb" id="page25">[pg 25]</span>
+      <hr class="doublepage" />
+
+      <div class="tei tei-div" style=
+      "margin-bottom: 5.00em; margin-top: 5.00em">
+        <a name="toc16" id="toc16"></a> <a name="pdf17" id="pdf17"></a>
+
+        <h1 class="tei tei-head" style=
+        "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em">
+        <span style="font-size: 173%">CATALOGUE OF A LOAN COLLECTION OF
+        JAPANESE COLOUR-PRINTS</span></h1>
+
+        <h1 class="tei tei-head" style=
+        "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em">
+        <span style="font-size: 173%">THE JAPAN SOCIETY OF NEW
+        YORK</span></h1>
+
+        <h1 class="tei tei-head" style=
+        "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em">
+        <span style="font-size: 173%">FIFTH AVENUE BUILDING. APRIL 19 TO MAY
+        19, 1911</span></h1><span class="tei tei-pb" id="page26">[pg
+        26]</span> <span class="tei tei-pb" id="page27">[pg 27]</span>
+        <hr class="doublepage" />
+
+        <div class="tei tei-div" style=
+        "margin-bottom: 4.00em; margin-top: 4.00em">
+          <a name="toc18" id="toc18"></a> <a name="pdf19" id="pdf19"></a>
+
+          <h2 class="tei tei-head" style=
+          "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em">
+          <span style="font-size: 144%">INTRODUCTION</span></h2>
+
+          <p class="tei tei-p" style="margin-bottom: 1.00em">The leading
+          masters of the Ukiyoé school were a group of very great artists.
+          The names of Kiyonaga, Harunobu, Okumura Masanobu, Utamaro,
+          Hokusai, and Hiroshige belong in the category of those whose fame
+          is world-wide.</p><a name="fig20" id="fig20"></a>
+
+          <div class="tei tei-figure" style="text-align: center">
+            <img src="images/cat101.jpg" alt="SHUNSHO. Woman in Red." title=
+            "SHUNSHO. Woman in Red." />
+
+            <div class="tei tei-head" style=
+            "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+              SHUNSHO. Woman in Red.
+            </div>
+          </div>
+
+          <p class="tei tei-p" style="margin-bottom: 1.00em">The finest of
+          the colour-prints designed by these men and their fellow-artists
+          are masterpieces of rare distinction. This does not mean that all
+          of their works should be so classed. The method by which the prints
+          were produced enabled the artists to turn them out rapidly, and
+          many were made that were trivial in character. They served almost
+          as many purposes in their time as engravings, etchings,
+          lithographs, and the photographic process reproductions do with us
+          to-day. Naturally they varied widely in merit and in quality. Many
+          have been preserved, but the important prints by the greater
+          artists are unfortunately very rare; few of them have survived the
+          vicissitudes of time, and fewer still in good condition.</p>
+
+          <p class="tei tei-p" style="margin-bottom: 1.00em">The inception of
+          the Ukiyoé school dates back to the early years of the seventeenth
+          century, when a painter named Iwasa Matahei, departing from the
+          traditional subjects of the painters of the classic schools, made
+          pictures of dancing-girls and scenes of every-day life. The first
+          prints were made about 1660 by Hishikawa Moronobu and were in
+          simple black outline. They were sometimes coloured by hand with a
+          few touches of colour roughly laid on, probably by the publisher's
+          assistants.</p>
+
+          <p class="tei tei-p" style="margin-bottom: 1.00em">In the early
+          years of the seventeenth century a style of colouring known as
+          <em class="tei tei-emph"><span style=
+          "font-style: italic">tan-yé</span></em> (from the predominant use
+          of a red-lead pigment known as tan) came into vogue. A little later
+          prints were sold with more elaborate hand-colouring. Lacquer was
+          mixed with the pigments to give them brilliancy, and the prints
+          were known as <em class="tei tei-emph"><span style=
+          "font-style: italic">urushi-yé,</span></em> or lacquer prints. In
+          or about the year 1742 Okumura Masanobu began <span class=
+          "tei tei-pb" id="page28">[pg 28]</span> to make the first true
+          colour-prints. For these he used only two colours, green and a soft
+          red called <em class="tei tei-emph"><span style=
+          "font-style: italic">beni,</span></em> and the prints were known as
+          <em class="tei tei-emph"><span style=
+          "font-style: italic">beni-yé.</span></em> For some years
+          difficulties connected with the printing prevented the use of more
+          than two colour-blocks, and not until 1764 was a method discovered
+          which made it possible to use as many blocks as might be required.
+          Suzuki Harunobu was the first artist to take advantage of the
+          discovery. The prints designed by him during the next six years are
+          among the finest works of the school. Under his guidance and that
+          of Katsukawa Shunsho, the art of colour-printing was brought to
+          perfection. Then followed a period when many prints of precious
+          quality were produced. The culmination was reached during the
+          seventeen hundred and eighties, when Torii Kiyonaga turned out his
+          marvellous single sheets, diptychs, and triptychs.</p>
+
+          <p class="tei tei-p" style="margin-bottom: 1.00em">Many splendid
+          prints were designed in the next decade. It was then that Eishi
+          made his delightful triptychs, that Sharaku stirred the people of
+          Yedo with his wonderful caricature portraits of popular actors, and
+          that Utamaro gained wide fame by the products of his facile brush.
+          It was, however, a period of decadence, and by the end of the
+          century a considerable distance had been travelled upon the
+          downward path.</p>
+
+          <p class="tei tei-p" style="margin-bottom: 1.00em">The prints made
+          in the nineteenth century were, for the most part, coarse and
+          gaudy, the chief exceptions being those designed by Hokusai and
+          Hiroshige. These men, though classed as of the Ukiyoé school, in
+          reality represent what may more properly be termed another
+          <span class="tei tei-q">“movement”</span> growing out of, but
+          distinct from, the Ukiyoé art that reached its apogee under
+          Kiyonaga.</p>
+
+          <p class="tei tei-p" style="margin-bottom: 1.00em">While the
+          present exhibition includes specimens of most of the different
+          kinds of prints—some of them, more especially the earlier ones, of
+          extreme rarity—historical completeness has not been attempted. The
+          aim has been rather to show such prints of exceptional quality and
+          beauty as are available in New York.</p>
+
+          <div class="tei tei-signed" style="text-align: right">
+            FREDERICK W. GOOKIN
+          </div>
+        </div><span class="tei tei-pb" id="page29">[pg 29]</span>
+        <span class="tei tei-pb" id="page30">[pg 30]</span> <span class=
+        "tei tei-pb" id="page31">[pg 31]</span>
+        <hr class="doublepage" />
+
+        <div class="tei tei-div" style=
+        "margin-bottom: 4.00em; margin-top: 4.00em">
+          <a name="toc21" id="toc21"></a> <a name="pdf22" id="pdf22"></a>
+
+          <h2 class="tei tei-head" style=
+          "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em">
+          <span style="font-size: 144%">CATALOGUE</span></h2>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            HISHIKAWA MORONOBU</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">Moronobu, who
+            was born probably in 1625 and died in 1695, was the first
+            important Japanese artist to design prints. As a painter he is
+            highly renowned. He illustrated many books and made a
+            considerable number of single-sheet prints, which were all either
+            in plain black or coloured by hand. His works are now very
+            rare.<a id="noteref_6" name="noteref_6" href=
+            "#note_6"><span class="tei tei-noteref"><span style=
+            "font-size: 60%; vertical-align: super">6</span></span></a></p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED</h4>
+
+              <p class="tei tei-p" style="margin-bottom: 1.00em"></p>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">1</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Large
+                    sumi-yé (ink print).</span></em> Matsukaze-Murasame; a
+                    nobleman and two ladies at the seashore watching two
+                    women dipping salt water in buckets.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">2</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Sumi-yé.</span></em> A man and a
+                    woman seated on the floor of a room.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">3</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Sumi-yé.</span></em> Woman reading
+                    from a book to a man reclining on the floor by her side.
+                    Near them a maid-servant and utensils containing
+                    refreshments.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY A COLLECTOR</h4>
+
+              <p class="tei tei-p" style="margin-bottom: 1.00em"></p>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">4</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Sumi-yé.</span></em> Scene in the
+                    Yoshiwara.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h3 class="tei tei-head" style=
+              "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+              TORII KIYONOBU</h3>
+
+              <p class="tei tei-p" style="margin-bottom: 1.00em">Founder of
+              the Torii line and one of the leading artists of the Ukiyoé
+              school. Inventor of the tan-yé, or prints coloured by hand with
+              red lead (Japanese <em class="tei tei-emph"><span style=
+              "font-style: italic">tan)</span></em>. He was born in 1664 and
+              died on August 22, 1729. His style of drawing was characterized
+              by great boldness and vigour.</p>
+
+              <div class="tei tei-div" style=
+              "margin-bottom: 2.00em; margin-top: 2.00em">
+                <h4 class="tei tei-head" style=
+                "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+                LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED</h4>
+
+                <table summary="This is a list." class="tei tei-list" style=
+                "margin-bottom: 1.00em; margin-top: 1.00em">
+                  <tbody>
+                    <tr class="tei tei-labelitem">
+                      <th class="tei tei-label">5</th>
+
+                      <td class="tei tei-item"><em class=
+                      "tei tei-emph"><span style="font-style: italic">Large
+                      tan-yé.</span></em> The actor Dekijima Hanya as a woman
+                      seated upon a sakura tree in bloom.</td>
+                    </tr>
+
+                    <tr class="tei tei-labelitem">
+                      <th class="tei tei-label">6</th>
+
+                      <td class="tei tei-item"><em class=
+                      "tei tei-emph"><span style="font-style: italic">Small
+                      tan-yé.</span></em> The actor Ikushima Daikichi as a
+                      woman holding two small dogs.</td>
+                    </tr>
+
+                    <tr class="tei tei-labelitem">
+                      <th class="tei tei-label">7</th>
+
+                      <td class="tei tei-item"><em class=
+                      "tei tei-emph"><span style="font-style: italic">Small
+                      tan-yé.</span></em> The actor Kamimura Kichisaburo as a
+                      dancing-girl.</td>
+                    </tr>
+
+                    <tr class="tei tei-labelitem">
+                      <th class="tei tei-label">8</th>
+
+                      <td class="tei tei-item"><em class=
+                      "tei tei-emph"><span style="font-style: italic">Large
+                      hand-coloured print.</span></em> The actor Ikushima
+                      Daikichi as an oiran on parade, followed by OÌtani
+                      Hiroji as a servant holding an umbrella over her.</td>
+                    </tr>
+
+                    <tr class="tei tei-labelitem">
+                      <th class="tei tei-label">9</th>
+
+                      <td class="tei tei-item"><em class=
+                      "tei tei-emph"><span style="font-style: italic">Tall
+                      hand-coloured print.</span></em> The actor Bando
+                      Hikosaburo.</td>
+                    </tr>
+                  </tbody>
+                </table>
+              </div>
+
+              <div class="tei tei-div" style=
+              "margin-bottom: 2.00em; margin-top: 2.00em">
+                <h4 class="tei tei-head" style=
+                "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+                LENT BY SAMUEL ISHAM.</h4>
+
+                <table summary="This is a list." class="tei tei-list" style=
+                "margin-bottom: 1.00em; margin-top: 1.00em">
+                  <tbody>
+                    <tr class="tei tei-labelitem">
+                      <th class="tei tei-label">10</th>
+
+                      <td class="tei tei-item"><em class=
+                      "tei tei-emph"><span style=
+                      "font-style: italic">Urushi-yé.</span></em> Ichikawa
+                      Monnosuke as a strolling player carrying a monkey on
+                      his back.</td>
+                    </tr>
+                  </tbody>
+                </table>
+              </div>
+
+              <div class="tei tei-div" style=
+              "margin-bottom: 2.00em; margin-top: 2.00em">
+                <h4 class="tei tei-head" style=
+                "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+                LENT BY HOWARD MANSFIELD.</h4>
+
+                <table summary="This is a list." class="tei tei-list" style=
+                "margin-bottom: 1.00em; margin-top: 1.00em">
+                  <tbody>
+                    <tr class="tei tei-labelitem">
+                      <th class="tei tei-label">11</th>
+
+                      <td class="tei tei-item"><em class=
+                      "tei tei-emph"><span style=
+                      "font-style: italic">Urushi-yé.</span></em> The
+                      elopement of Yaoya Hanbei and O-Chiya.</td>
+                    </tr>
+                  </tbody>
+                </table>
+              </div>
+
+              <div class="tei tei-div" style=
+              "margin-bottom: 2.00em; margin-top: 2.00em">
+                <h4 class="tei tei-head" style=
+                "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+                LENT BY A COLLECTOR.</h4>
+
+                <table summary="This is a list." class="tei tei-list" style=
+                "margin-bottom: 1.00em; margin-top: 1.00em">
+                  <tbody>
+                    <tr class="tei tei-labelitem">
+                      <th class="tei tei-label">12</th>
+
+                      <td class="tei tei-item"><em class=
+                      "tei tei-emph"><span style=
+                      "font-style: italic">Urushi-yé.</span></em> A
+                      dancing-girl.</td>
+                    </tr>
+                  </tbody>
+                </table>
+              </div>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            TORII KIYOMASU</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">Eldest son of
+            Kiyonobu, whom he succeeded as the head of the Torii line. His
+            work closely resembles that of his father. He was born about 1685
+            and died on January 2, 1764.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.</h4><a name=
+              "fig23" id="fig23"></a>
+
+              <div class="tei tei-figure" style="text-align: center">
+                <img src="images/cat133.jpg" alt=
+                "KIYONAGA. Holiday Group at Gotenyama." title=
+                "KIYONAGA. Holiday Group at Gotenyama." />
+
+                <div class="tei tei-head" style=
+                "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+                KIYONAGA. Holiday Group at Gotenyama.
+                </div>
+              </div>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">13</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Large
+                    sumi-yé.</span></em> An actors' boating party on the
+                    Sumidagawa.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">14</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Large
+                    tan-yé.</span></em> The actors Yoshizawa Ayame and Kanto
+                    Koroku.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">15</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Large
+                    tan-yé.</span></em> The actors Kanto Koroku and Ikushima
+                    Daikichi.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">16</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Large
+                    beni-yé.</span></em> Ichikawa DanjuÌroÌ as an enraged
+                    warrior.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">17</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Beni-yé.</span></em> Onoe KikugoroÌ
+                    in a female rôle.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">18</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Beni-yé.</span></em> Scene from a
+                    drama. The actors Tomazawa SaijiroÌ (on horseback),
+                    OÌtani Hiroji, and Segawa KikunojoÌ. The beni has
+                    turned to a low-toned yellow.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">19</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Urushi-yé.</span></em> Scene from a
+                    drama. OÌtani Oniji (on horseback) threatening Sannogawa
+                    Ichimatsu in the rôle of a woman who has seized his
+                    bridle rein.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">20</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Beni-yé.</span></em> Scene from a
+                    drama. Sawamura SojuÌroÌ as Sasaki no SaburoÌ and
+                    Nakamura TomijuÌroÌ as Mago no Koroku.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            FURUYAMA MOROMASA</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">Pupil, and
+            perhaps the son, of Moronobu. He devoted himself chiefly to
+            painting, but designed a few prints, most of which are ukiyé, or
+            perspective pictures, in the style of Okumura Masanobu.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">21</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Large
+                    hand-coloured ukiyé, or perspective print.</span></em> A
+                    game of ken in a room in a nobleman's house.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            OKUMURA MASANOBU</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">One of the
+            most eminent of the Ukiyoé artists. His drawings were greatly
+            admired for their rare combination of force and refinement, and
+            he exercised wide influence over his contemporaries and
+            successors to the end of the eighteenth century. He was the first
+            artist to use blocks from which prints were coloured in flat
+            tints. These were printed in the red known as beni, green, and
+            black, and were known as beni-yé. He was also the first artist to
+            make the tall, narrow pillar prints (ha-shira-yé), and was the
+            inventor of the perspective prints which he called <em class=
+            "tei tei-emph"><span style=
+            "font-style: italic">ukiyé.</span></em> His true name was Okumura
+            Genpachi, and he was commonly known as honya (bookseller)
+            Genpachi, from the fact that he was the proprietor of a wholesale
+            and retail book and print shop at the sign of the <span class=
+            "tei tei-q">“red gourd”</span> in Tori-shio choÌ, Yedo.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">22</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Large
+                    sumi-yé.</span></em> Woman seated by a writing-table,
+                    reading a book.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">23</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Urushi-yé.</span></em> Bando
+                    Hikosaburo as a warrior resisting the opening of a castle
+                    door.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">24</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Tall
+                    beni-yé.</span></em> A geisha playing upon a
+                    samisen.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">25</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Large
+                    sumi-yé.</span></em> A woman with a pet cat watching a
+                    man dip water from a chozubachi.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY A COLLECTOR</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">26</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Large
+                    beni-yé.</span></em> Segawa KikunojoÌ as an oiran
+                    lighting her pipe at a hibachi in the hands of her
+                    kamuro, and Sannogawa Ichimatsu as a man holding an
+                    umbrella over her.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">27</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Undivided
+                    beni-yé triptych.</span></em> Street scene. A boy
+                    kneeling to put on a woman's geta; a man playing upon a
+                    shakuhachi; and another man carrying an umbrella.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">28</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Undivided
+                    triptych.</span></em> Three women carrying
+                    umbrellas.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            OKUMURA TOSHINOBU</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">Toshinobu, the
+            son of Masanobu, was an artist of decided talent who died young.
+            His known works, which resemble those of his father, are all
+            urushi-yé, and were designed about 1730-1736.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY A COLLECTOR</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">29</th>
+
+                    <td class="tei tei-item">Ichimura Uzaemon as a
+                    dancing-girl.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">30</th>
+
+                    <td class="tei tei-item">Woman dressing.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">31</th>
+
+                    <td class="tei tei-item">Sanjo KentaroÌ in a female
+                    rôle.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            TSUNEKAWA SHIGENOBU</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">An early
+            Ukiyoé artist of whom little is known. His prints are extremely
+            rare.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY A COLLECTOR</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">32</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Urushi-yé.</span></em> Arashi Wakano
+                    in the rôle of Shida no KotaroÌ.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            NISHIMURA SHIGENAGA</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">Son of
+            Shigenobu. Born in 1697 and died in 1756. An artist of ability
+            who exercised marked influence upon the development of the
+            school. His prints are very uneven in quality.</p><span class=
+            "tei tei-pb" id="page35">[pg 35]</span>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">33</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Tall
+                    hand-coloured print.</span></em> The actor Sannogawa
+                    Ichimatsu as a woman holding a folded letter.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY A COLLECTOR</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">34</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Urushi-yé.</span></em> Segawa
+                    Kikunojo as a woman holding a warrior's helmet.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">35</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Beni-yé.</span></em> Procession of
+                    the Corean ambassadors.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            ISHIKAWA TOYONOBU</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">One of the
+            most important of the Ukiyoé masters. Born in 1711, died in 1785.
+            Pupil of Shigenaga, and probably of Masanobu whose style he
+            closely assimilated.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">36</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Large
+                    beni-yé.</span></em> The actors Segawa Kikunojo and
+                    Sannogawa Ichimatsu.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY SAMUEL ISHAM.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">37</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Wide
+                    print from three colour-blocks.</span></em> Women and
+                    children at the seashore.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY A COLLECTOR.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">38</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Tall
+                    hand-coloured print.</span></em> Segawa KikunojoÌ as a
+                    woman reading a letter.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">39</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Two
+                    sheets from a beni-yé triptych.</span></em> Musume
+                    carrying umbrellas.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY HAMILTON EASTER FIELD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">40</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Beni-yé.</span></em> Mother and
+                    son.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">41</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Print
+                    from three colour-blocks.</span></em> Boys rolling a
+                    large snowball.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">42</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Print
+                    from three colour-blocks.</span></em> Man struggling with
+                    a refractory umbrella; a woman looking on.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div><span class="tei tei-pb" id="page36">[pg 36]</span>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            TORII KIYOHIRO</h3><a name="fig24" id="fig24"></a>
+
+            <div class="tei tei-figure" style="text-align: center">
+              <img src="images/cat138.jpg" alt="KIYONAGA. Picnic Party."
+              title="KIYONAGA. Picnic Party." />
+
+              <div class="tei tei-head" style=
+              "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+              KIYONAGA. Picnic Party.
+              </div>
+            </div>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">Pupil of
+            Kiyomasu. His known works are exclusively beni-yé, executed from
+            about 1745 to about 1755.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY HAMILTON EASTER FIELD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">43</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Beni-yé.</span></em> Nakamura
+                    HatsugoroÌ as Sakura no Suké.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            TORII SHIRO</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">Known as
+            Kiyonobu the second, all of his prints being signed Torii
+            Kiyonobu. He was the eldest son of Kiyomasu. Worked from about
+            1740 to about 1755, when it is probable that his death occurred.
+            Some of the most charming of the beni-yé prints are from his
+            hand.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY HOWARD MANSFIELD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">44</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Beni-yé.</span></em> Yamamoto
+                    IwanojoÌ as a woman dancing by a fox-trap in a rice
+                    field under a blossoming cherry tree.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em">
+            <span style="font-size: 120%">TORII KIYOMITSU</span></h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">Second son of
+            Kiyomasu, whom he succeeded as the head of the Torii line. An
+            artist of distinction. Was the first to add a third colour-block
+            to the original two. He was born in 1735 and died in 1785. After
+            1765 he designed only a few prints, and appears to have designed
+            none later than about 1768.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">45</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Wide
+                    print from three colour-blocks.</span></em> The NoÌ
+                    performance of <span class="tei tei-q">“Musume
+                    DoÌjoÌji.”</span></td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">46</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Wide
+                    print from three colour-blocks.</span></em> Daimyo
+                    procession game by women and children.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">47</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Print
+                    from three colour-blocks.</span></em> Iwai HanshiroÌ as
+                    a woman reading a letter while seated upon a
+                    carabao.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">48</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Beni-yé.</span></em> Scene from a
+                    drama. Ichimura KamezoÌ (standing) as Wakemi GoroÌ and
+                    Nakamura TomijuÌroÌ as Akoya.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            SUZUKI HARUNOBU</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">The central
+            figure in Ukiyoé and the eminent master under whose hand the art
+            of colour-printing was brought to perfection in the sixties of
+            the eighteenth century. He was a draughtsman of extreme elegance
+            and power, and his works have a charm that is peculiarly their
+            own. He died on July 7, 1770, when, says Shiba Kokan in his book
+            <span class="tei tei-q">“Kokan Kokai-ki,”</span> he <span class=
+            "tei tei-q">“had hardly passed his fortieth year.”</span></p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY SAMUAL ISHAM.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">49</th>
+
+                    <td class="tei tei-item">Girl attendant in an archery
+                    gallery gathering up arrows. One sheet of a diptych.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">50</th>
+
+                    <td class="tei tei-item">A young woman showing a caged
+                    bird to a young man seated before her, and
+                    surreptitiously taking a love letter from him.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">51</th>
+
+                    <td class="tei tei-item">A vendor of fan mounts stopping
+                    to talk to a young woman standing in front of a
+                    shop.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">52</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Hashira-yé.</span></em> Woman
+                    writing a love letter.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">53</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Hashira-yé.</span></em> Woman
+                    holding a pet dog.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">54</th>
+
+                    <td class="tei tei-item">Burlesque scene. Girls carrying
+                    Daikoku (the genius of wealth—one of the <span class=
+                    "tei tei-q">“Seven Fortune-beings”</span>).</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY HOWARD MANSFIELD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">55</th>
+
+                    <td class="tei tei-item">Girls carrying Daikoku. A later
+                    impression with different colouring.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">56</th>
+
+                    <td class="tei tei-item">An archer and two girls near a
+                    screen. Calendar for 1765.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">57</th>
+
+                    <td class="tei tei-item">Young woman before a torii,
+                    carrying a hammer and nails with which to perform an
+                    incantation.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">58</th>
+
+                    <td class="tei tei-item">Two young women on their way to
+                    the public bath-house through a storm of snow and
+                    rain.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">59</th>
+
+                    <td class="tei tei-item">Two girls on a terrace near a
+                    torii, in the time of the cherry-blossoming.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">60</th>
+
+                    <td class="tei tei-item">Two girls gathering mume flowers
+                    from a tree overhanging a wall.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">61</th>
+
+                    <td class="tei tei-item">Woman reading a letter by the
+                    light of an andon (portable lamp with wind screen) which
+                    another woman is trimming.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">62</th>
+
+                    <td class="tei tei-item">Geisha and a young girl standing
+                    on the bank near the rapids of the Tamagawa.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">63</th>
+
+                    <td class="tei tei-item">Young woman seated in a window,
+                    conversing with another young woman seated on the floor
+                    and holding a picture-book.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">64</th>
+
+                    <td class="tei tei-item">Young man removing snow from the
+                    geta of a young woman.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">65</th>
+
+                    <td class="tei tei-item">Woman lying upon the floor of a
+                    room, reading a book, and another woman standing beside
+                    her, holding a pipe.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">66</th>
+
+                    <td class="tei tei-item">Young woman seated on a veranda
+                    after her bath, having her back massaged by her
+                    maid.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">67</th>
+
+                    <td class="tei tei-item">Young man talking to a girl
+                    through the bars of a window.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">68</th>
+
+                    <td class="tei tei-item">A burlesque apparition of Fugen.
+                    Instead of the Buddhist divinity, a young woman seated on
+                    an elephant appears on a cloud before a priest kneeling
+                    in prayer.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">69</th>
+
+                    <td class="tei tei-item">Lovers walking in the snow under
+                    an umbrella. One of Harunobu's most distinguished
+                    prints.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">70</th>
+
+                    <td class="tei tei-item">The Sleeping Elder Sister. First
+                    state. Early impression signed by the printer,
+                    Kyosen.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY HAMILTON EASTER FIELD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">71</th>
+
+                    <td class="tei tei-item">The Sleeping Elder Sister.
+                    Second state. Changes made in the blocks and
+                    colouring.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY A COLLECTOR.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">72</th>
+
+                    <td class="tei tei-item">The Sleeping Elder Sister. Still
+                    later impression. Colouring changed again, and the number
+                    of blocks increased from ten to thirteen.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY HAMILTON EASTER FIELD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">73</th>
+
+                    <td class="tei tei-item">The Hole in the Wall.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">74</th>
+
+                    <td class="tei tei-item">Mother holding her infant
+                    son.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">75</th>
+
+                    <td class="tei tei-item">At the entrance gate.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">76</th>
+
+                    <td class="tei tei-item">Mother taking her infant son
+                    from another woman and handing her a letter.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">77</th>
+
+                    <td class="tei tei-item">Lovers in a palace.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY A COLLECTOR.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">78</th>
+
+                    <td class="tei tei-item">Musume walking up a flight of
+                    steps leading to a temple.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">79</th>
+
+                    <td class="tei tei-item">Lovers playing battledore and
+                    shuttlecock; the young man climbing a ladder to disengage
+                    the shuttlecock caught upon the branch of a mume
+                    tree.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">80</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Hashira-yé.</span></em> Woman in
+                    night attire standing by her bedside reading a
+                    letter.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            SHIBA KOKAN</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">An artist who
+            is best known as a clever imitator of his master, Harunobu, whose
+            signature he forged upon a number of prints. He also used the
+            <span class="tei tei-q">“goÌ,”</span> or studio name, Harushige
+            in signing prints in the Harunobu manner. In later years he
+            painted pictures in semi-European style, and made copper-plate
+            engravings which were coloured by hand. He was born in 1747 and
+            died in 1818.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY SAMUEL ISHAM.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">81</th>
+
+                    <td class="tei tei-item">The courtyard of a house in the
+                    Yoshiwara. A woman reading a letter and a girl attendant
+                    standing beside her holding a tray. Signed Harunobu.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            SHOSHOKEN</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">This is the
+            pseudonym of an artist of distinction whose identity has not been
+            determined. His known works are calendar prints for 1765.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY SAMUEL ISHAM.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">82</th>
+
+                    <td class="tei tei-item">Stout lady crossing a room in a
+                    palace supported by two attendants. The use of gold leaf
+                    is notable.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div><span class="tei tei-pb" id="page40">[pg 40]</span>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            KITAO SHIGEMASA</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">One of the
+            noted artists of the school. Was famous for his skill as a
+            calligrapher, being reputed to have no superior in his day in
+            either of the <span class="tei tei-q">“three capitals,”</span>
+            Yedo, Kyoto, or Osaka. His prints, which are rare, are generally
+            of much distinction. He was born in 1740, and died in the second
+            month of Bunsei 3 (February or March, 1820).</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY HOWARD MANSFIELD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">83</th>
+
+                    <td class="tei tei-item">Children's puppet show.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">84</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Beni-yé.</span></em> Segawa
+                    KikunojoÌ and Ichimura Uzaemon as Izumo no Okuni and
+                    Nagoya Sanza, two komuso, playing upon shaku-hachi.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY A COLLECTOR.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">85</th>
+
+                    <td class="tei tei-item">Two geishas.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            ISODA KORYUSAI</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">The most
+            important pupil of Harunobu, whose style he followed closely in
+            his early works. Later he developed a manner of his own. As a
+            designer of pillar prints and of prints of birds, he was
+            especially successful. He was a samurai and associated with
+            samurai of the superior class. The director of the mint was one
+            of his most intimate friends and patrons. About 1781 he gave up
+            print-designing, devoted himself to painting, and was given the
+            honorary title of Hokyo. The dates of his birth and death are not
+            known.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY SAMUEL ISHAM.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">86</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Hashira-yé.</span></em> Musume
+                    leaping from the balcony of Kiyomidzu temple with an
+                    umbrella as a parachute.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">87</th>
+
+                    <td class="tei tei-item">Woman standing on the engawa of
+                    a house, admiring snow-laden bamboo branches; back of
+                    her, a girl and a young boy looking through a
+                    window.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">88</th>
+
+                    <td class="tei tei-item">A Yoshiwara beauty arranging
+                    flowers; two girl attendants looking on.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY A COLLECTOR.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">89</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Hashira-yé.</span></em> Musume
+                    carrying her infant brother.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">90</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Hashira-yé.</span></em> Young woman
+                    poling a boat in a lily-pond.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">91</th>
+
+                    <td class="tei tei-item">A Yoshiwara beauty on parade,
+                    attended by a girl and a boy.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">92</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Hashira-yé.</span></em> The bijin
+                    JuroÌjin. A young woman is represented in place of the
+                    long-life being whose attributes are a crane and a
+                    tortoise.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            KATSUKAWA SHUNSHO</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">A contemporary
+            of Harunobu and one of the greatest of the Ukiyoé artists. He was
+            highly renowned in his day and had many pupils who became famous.
+            Most of his prints were portraits of actors in character. He was
+            born in 1726 and died on January 22, 1793.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">93</th>
+
+                    <td class="tei tei-item">Segawa Kikunojo as a woman
+                    holding a red fan.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">94</th>
+
+                    <td class="tei tei-item">Two actors in character. The
+                    seated figure is DanjuÌroÌ, the leading <span class=
+                    "tei tei-q">“star”</span> of the Yedo stage.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY SAMUEL ISHAM.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">95</th>
+
+                    <td class="tei tei-item">Actor in a female rôle.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY HOWARD MANSFIELD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">96</th>
+
+                    <td class="tei tei-item">Iwai HanshiroÌ as a woman
+                    standing and holding a fan behind her.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">97</th>
+
+                    <td class="tei tei-item">Yamashita Kinsaku in a female
+                    rôle.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">98</th>
+
+                    <td class="tei tei-item">Actor of the Ichikawa line in
+                    the rôle of Shibaraku at the Ichimura theatre.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">99</th>
+
+                    <td class="tei tei-item">OÌtani Hiroji as an Amazake
+                    vendor.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">100</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Hashira-yé.</span></em> Nobleman
+                    carrying a court lady on his back. Probably a parody upon
+                    the suicide of Ohan and Choyaemon.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">101</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style="font-style: italic">Wide
+                    hashira-yé.</span></em> The Woman in Red.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            IPPITSUSAI BUNCHOÌ</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">An artist of
+            samurai rank who, for a few years, designed actor prints in the
+            manner of Shunsho, which have great distinction of style and
+            colour. He was celebrated also as a writer of comic odes. He died
+            on May 18, 1796.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.</h4><a name=
+              "fig25" id="fig25"></a>
+
+              <div class="tei tei-figure" style="text-align: center">
+                <img src="images/cat102.jpg" alt=
+                "BUNCHO. Actor as Woman talking to Men." title=
+                "BUNCHO. Actor as Woman talking to Men." />
+
+                <div class="tei tei-head" style=
+                "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+                BUNCHO. Actor as Woman talking to Men.
+                </div>
+              </div>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">102</th>
+
+                    <td class="tei tei-item">Bando Hikosaburo as a woman of
+                    the Yoshiwara talking to a group of men through the
+                    misé.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">103</th>
+
+                    <td class="tei tei-item">Nakamura TomijuÌroÌ as Josan
+                    no Miya.</td>
+                  </tr>
+                </tbody>
+              </table><a name="fig26" id="fig26"></a>
+
+              <div class="tei tei-figure" style="text-align: center">
+                <img src="images/cat103.jpg" alt=
+                "KIYONAGA. Man and two Women approaching Temple." title=
+                "KIYONAGA. Man and two Women approaching Temple." />
+
+                <div class="tei tei-head" style=
+                "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+                KIYONAGA. Man and two Women approaching Temple.
+                </div>
+              </div>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY SAMUEL ISHAM.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">104</th>
+
+                    <td class="tei tei-item">A Yoshiwara beauty accompanied
+                    by her kamuro (girl attendant) bearing a cage of
+                    fireflies.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY HOWARD MANSFIELD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">105</th>
+
+                    <td class="tei tei-item">Ichikawa KorazoÌ as a man
+                    carrying an actor's dressing-case.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY HAMILTON EASTER FIELD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">106</th>
+
+                    <td class="tei tei-item">Scene from a drama. Yamashita
+                    Kinsaku as a woman holding a roll of paper, conversing
+                    with Ichikawa KomazoÌ, who holds a letter in his
+                    hand.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            KATSUKAWA SHUNKOÌ</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">Pupil of
+            Shunsho and generally regarded as his most talented follower. His
+            career as a print-designer was cut short by a stroke of paralysis
+            when he was in his forty-fifth or forty-sixth year, but he lived
+            for about <span class="tei tei-pb" id="page43">[pg 43]</span>
+            forty years thereafter as a recluse at Zenfukuji temple, Azabu,
+            Yedo, where he died in 1827.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY SAMUEL ISHAM.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">107</th>
+
+                    <td class="tei tei-item">Iwai Hanshiro in a female
+                    rôle.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">108</th>
+
+                    <td class="tei tei-item">The actor Ichikawa
+                    Monnosuke.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">109</th>
+
+                    <td class="tei tei-item">Nakamura TomijuÌroÌ as a
+                    tsuzumi player.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY HOWARD MANSFIELD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">110</th>
+
+                    <td class="tei tei-item">Arashi Tatsuzo as a woman
+                    flower-vendor.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            KATSUKAWA SHUNYEI</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">Pupil of
+            ShunshoÌ and an artist of ability. At first, for a short time,
+            he called himself ShunjoÌ. He was born in 1767, and died on
+            December 13, 1819.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">111</th>
+
+                    <td class="tei tei-item">A bijin.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY HOWARD MANSFIELD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">112</th>
+
+                    <td class="tei tei-item">Ichikawa Monnosuke in a female
+                    rôle.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY SAMUEL ISHAM.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">113</th>
+
+                    <td class="tei tei-item">Scene from the tenth act of
+                    <span class="tei tei-q">“Chushingura.”</span></td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">114</th>
+
+                    <td class="tei tei-item">Ichikawa KomazoÌ.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            UTAGAWA TOYOHARU</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">Pupil of
+            Toyonobu. As a painter his reputation is justly high. He did not
+            design many prints. He was born in 1735 and died on March 3,
+            1814.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">114</th>
+
+                    <td class="tei tei-item">Cock, hen and chickens.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div><span class="tei tei-pb" id="page44">[pg 44]</span>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            TORII KIYONAGA</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">Everything
+            considered, the greatest artist of the Ukiyoé school and the
+            culminating figure in its forward movement. He was born in 1742
+            and died in 1815. His finest prints were designed between 1780
+            and 1790.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY SAMUEL ISHAM.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">116</th>
+
+                    <td class="tei tei-item">The Writing-lesson.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">117</th>
+
+                    <td class="tei tei-item">Fair travellers resting on a
+                    bench by the roadside.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">118</th>
+
+                    <td class="tei tei-item">Two geishas entertaining a young
+                    man.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">119</th>
+
+                    <td class="tei tei-item">Court ladies on the engawa of a
+                    palace.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY HOWARD MANSFIELD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">120</th>
+
+                    <td class="tei tei-item">Three girls going to the baths
+                    at the hot springs near Miyanoshita.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">121</th>
+
+                    <td class="tei tei-item">Man and two women masquerading
+                    in komusoÌ attire.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">122</th>
+
+                    <td class="tei tei-item">Group of three women and a
+                    boy.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">123</th>
+
+                    <td class="tei tei-item">Two women standing beside a
+                    seated geisha who is playing on a samisen.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">124</th>
+
+                    <td class="tei tei-item">Yoshiwara beauty attended by two
+                    women (shinzo) and two girls (kamuro).</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">125</th>
+
+                    <td class="tei tei-item">Two young women and a servant on
+                    the balcony of an inn.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">126</th>
+
+                    <td class="tei tei-item">Family group on their way to a
+                    temple for the naming ceremony of the boy who is carried
+                    on the shoulders of an attendant.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">127</th>
+
+                    <td class="tei tei-item">An actor and two women examining
+                    utensils for the tea ceremony.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">128</th>
+
+                    <td class="tei tei-item">Women and children promenading
+                    in summer costume.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">129</th>
+
+                    <td class="tei tei-item">Scene from a drama. Two actors
+                    playing the game of <span class="tei tei-q">“go”</span>
+                    with mume blossoms, and a third actor as a woman in the
+                    rôle of an umpire standing between them.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">130</th>
+
+                    <td class="tei tei-item">Two young women walking under an
+                    umbrella and followed by a servant.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">131</th>
+
+                    <td class="tei tei-item">Man in a black haori approaching
+                    a temple through the snow, accompanied by two women.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">132</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Diptych.</span></em> Group of women
+                    under a cherry tree.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">133</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Diptych.</span></em> Holiday group
+                    under the cherry trees at Gotenyama. One of a series of
+                    twelve diptychs that are among Kiyonaga's finest
+                    works.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">134</th>
+
+                    <td class="tei tei-item">Boating party under Ryogoku
+                    bridge. Two sheets of a triptych.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">135</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Triptych.</span></em> The Peony
+                    (botan) Show.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">136</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Triptych.</span></em> Women landing
+                    from a pleasure boat.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY A COLLECTOR.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">137</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Hashira-yé.</span></em> Woman in
+                    winter costume.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">138</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Triptych.</span></em> A picnic party
+                    under the cherry trees.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">139</th>
+
+                    <td class="tei tei-item">Group of women on the bank of
+                    the Sumida river.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">140</th>
+
+                    <td class="tei tei-item">Group of women near a
+                    temple.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">141</th>
+
+                    <td class="tei tei-item">Three women at a public
+                    bath-house.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            KATSUKAWA SHUNCHO</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">Pupil of
+            ShunshoÌ. Followed the style of Torii Kiyonaga. His works
+            closely resemble those of the Torii master, but have less force.
+            Worked from about 1775 to about 1795. In some of his later prints
+            he imitated Eishi's prints in the Utamaro manner. The dates of
+            his birth and death are not known.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY SAMUAL ISHAM.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">142</th>
+
+                    <td class="tei tei-item">One sheet of a triptych showing
+                    a nobleman's mansion from the garden, with the people
+                    engaged in various occupations.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY HOWARD MANSFIELD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">143</th>
+
+                    <td class="tei tei-item">Women watching girls bouncing
+                    balls.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">144</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Diptych.</span></em> Group at the
+                    entrance to a temple.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">145</th>
+
+                    <td class="tei tei-item">Three women in a temple
+                    compound.</td>
+                  </tr>
+                </tbody>
+              </table><a name="fig27" id="fig27"></a>
+
+              <div class="tei tei-figure" style="text-align: center">
+                <img src="images/cat143.jpg" alt=
+                "SHUNCHO. Women watching Girls bouncing Balls." title=
+                "SHUNCHO. Women watching Girls bouncing Balls." />
+
+                <div class="tei tei-head" style=
+                "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+                SHUNCHO. Women watching Girls bouncing Balls.
+                </div>
+              </div>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <span class="tei tei-pb" id="page46">[pg 46]</span>
+
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY HAMILTON EASTER FIELD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">146</th>
+
+                    <td class="tei tei-item">Group of girls at a tea booth by
+                    the seashore.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY A COLLECTOR.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">147</th>
+
+                    <td class="tei tei-item">A picnic party. Two sheets of a
+                    triptych.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">148</th>
+
+                    <td class="tei tei-item">Women picking wild flowers under
+                    a cherry tree in bloom.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            HOSODA EISHI</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">One of the
+            foremost artists of the school. He was a samurai of high rank,
+            and a pupil of Kano Eisen. For three years before he took to
+            Ukiyoé he held an official post in the household of the shogun
+            Iyeharu. Eishi was a master of all the resources of the art of
+            colour-printing and his prints are characterized by great
+            elegance and refinement. He worked from about 1782 to 1800, when
+            he gave up print-designing. He died in 1829.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY SAMUAL ISHAM.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">149</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Triptych.</span></em> Eight women
+                    and a man playing the game of <span class=
+                    "tei tei-q">“Catch the fox.”</span></td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">150</th>
+
+                    <td class="tei tei-item">Group of Yoshiwara women and
+                    attendants.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">151</th>
+
+                    <td class="tei tei-item">Someyama and her kamuro playing
+                    with a pet dog.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">152</th>
+
+                    <td class="tei tei-item">Yoshiwara women admiring a
+                    branch of mume tree with unopened flower buds.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">153</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Triptych.</span></em> Fête in a
+                    nobleman's palace. Ladies composing poems.</td>
+                  </tr>
+                </tbody>
+              </table><a name="fig28" id="fig28"></a>
+
+              <div class="tei tei-figure" style="text-align: center">
+                <img src="images/cat153.jpg" alt=
+                "EISHI. Fête in a nobleman's palace." title=
+                "EISHI. Fête in a nobleman's palace." />
+
+                <div class="tei tei-head" style=
+                "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+                EISHI. Fête in a nobleman's palace.
+                </div>
+              </div>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY MRS. WILLIAM BENJAMIN WOOD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">154</th>
+
+                    <td class="tei tei-item">Another copy of the foregoing
+                    triptych. Shows how beautifully the purple changes by
+                    chemical decomposition.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY HOWARD MANSFIELD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">155</th>
+
+                    <td class="tei tei-item">Oiran and attendants on
+                    parade.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY A COLLECTOR.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">156</th>
+
+                    <td class="tei tei-item">A Yoshiwara beauty. Ink proof of
+                    the key block.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">157</th>
+
+                    <td class="tei tei-item">Two women entering a room in the
+                    palace of Prince Genji, where a young girl is seated
+                    playing with a kitten.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            YEISHOSAI CHOKI</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">An artist of
+            ability, though not quite of the first rank. His prints are rare.
+            He worked at first in the style of Kiyonaga. Later he imitated
+            Utamaro, and changed his <span class="tei tei-q">“goÌ,”</span>
+            or studio name, to Momokawa Shiko.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY A COLLECTOR.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">158</th>
+
+                    <td class="tei tei-item">Woman and child catching
+                    fireflies.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            TOSHUSAI SHARAKU</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">This artist
+            was by profession a performer of the stately and aristocratic No
+            dramas in the service of Hachisuka, Daimyo of Awa. During the
+            period from about 1790 to 1795 he designed a small number of
+            caricature portraits of actors, which have great force and
+            distinguished character.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY YAMANAKA &amp; COMPANY.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">159</th>
+
+                    <td class="tei tei-item">The actor<a id="noteref_7" name=
+                    "noteref_7" href="#note_7"><span class=
+                    "tei tei-noteref"><span style=
+                    "font-size: 60%; vertical-align: super">7</span></span></a>
+                    Tanimura TorazoÌ in the rôle of Kakogawa HonzoÌ.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">160</th>
+
+                    <td class="tei tei-item">Ichikawa EbizoÌ in the rôle of
+                    Ko no Moronao. This print bears an inscription, probably
+                    contemporary, giving the date 1794.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">161</th>
+
+                    <td class="tei tei-item">Onoe Matsusuke as one of the
+                    Loyal Ronin.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">162</th>
+
+                    <td class="tei tei-item">Rando HikosaburoÌ in the rôle
+                    of Yuranosuke.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">163</th>
+
+                    <td class="tei tei-item">Iwai HanshiroÌ in the rôle of
+                    Oishi, wife of Yuranosuke.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">164</th>
+
+                    <td class="tei tei-item">Ichikawa Monnosuke as one of the
+                    Loyal Ronin.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">165</th>
+
+                    <td class="tei tei-item">Morita Kanya as one of the Loyal
+                    Ronin.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">166</th>
+
+                    <td class="tei tei-item">Segawa TominojoÌ in the rôle of
+                    Kaoyo Gozen, wife of Yenya.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">167</th>
+
+                    <td class="tei tei-item">Sawamura SojuÌroÌ in the rôle
+                    of Yenya Hanguwan.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">168</th>
+
+                    <td class="tei tei-item">Arashi TatsuzoÌ in the rôle of
+                    Yoichibei.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">169</th>
+
+                    <td class="tei tei-item">Sakata HangoroÌ as
+                    Ten-ichi-boÌ Hotaku.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">170</th>
+
+                    <td class="tei tei-item">Segawa TominojoÌ and Nakamura
+                    ManjuÌroÌ in female rôles.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">171</th>
+
+                    <td class="tei tei-item">Nakajima Utaemon and Nakamura
+                    KonozoÌ.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">172</th>
+
+                    <td class="tei tei-item">Ichikawa OmezoÌ in the rôle of
+                    Sukeroku.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">173</th>
+
+                    <td class="tei tei-item">Matsumoto KoshiroÌ in the rôle
+                    of the otokadaté Banzuin Chobei. This print is commonly
+                    known as <span class="tei tei-q">“The man with the
+                    pipe.”</span></td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">174</th>
+
+                    <td class="tei tei-item">Matsumoto YonesaburoÌ in the
+                    rôle of Okaru, wife of Kampei.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">175</th>
+
+                    <td class="tei tei-item">Ichikawa YaozoÌ in the rôle of
+                    Hayano Kampei.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">176</th>
+
+                    <td class="tei tei-item">Kosagawa TsuneyoÌ in the rôle
+                    of Tonasé, wife of Kakogawa HonzoÌ.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">177</th>
+
+                    <td class="tei tei-item">OÌtani Oniji in the rôle of
+                    Sadakuro.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">178</th>
+
+                    <td class="tei tei-item">Sannogawa Ichimatsu in a female
+                    rôle.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">178a</th>
+
+                    <td class="tei tei-item">Nakayama TomisaburoÌ in the
+                    rôle of Komurasaki, and Ichikawa KomazoÌ as her lover,
+                    Shirai Gompachi, walking with her under a huge
+                    umbrella.</td>
+                  </tr>
+                </tbody>
+              </table><a name="fig29" id="fig29"></a>
+
+              <div class="tei tei-figure" style="text-align: center">
+                <img src="images/cat178.jpg" alt="SHARAKU. Two Actors."
+                title="SHARAKU. Two Actors." />
+
+                <div class="tei tei-head" style=
+                "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+                SHARAKU. Two Actors.
+                </div>
+              </div>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">179</th>
+
+                    <td class="tei tei-item">Segawa TominojoÌ.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            KITAGAWA UTAMARO</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">One of the
+            most gifted and most widely known of the Ukiyoé masters.
+            Extraordinarily facile and brilliant. Born in 1753 and died in
+            1806.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY SAMUAL ISHAM.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">180</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Triptych.</span></em> Imaginative
+                    view of a fête in a Chinese palace. It is a medley of
+                    Chinese and Japanese details intended as a take-off upon
+                    the treatment of Chinese subjects by the painters of the
+                    classic schools.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">181</th>
+
+                    <td class="tei tei-item">The hour of the Boar (9 to 12
+                    P.M.). One of a set illustrating the twelve hours into
+                    which the Japanese day is divided.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">182</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Diptych.</span></em> Women in a
+                    nobleman's palace, painting kakemono.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">183</th>
+
+                    <td class="tei tei-item">Yoshiwara beauties on
+                    parade.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">183a</th>
+
+                    <td class="tei tei-item">A sheet from the <span class=
+                    "tei tei-q">“Washing day”</span> triptych.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">184</th>
+
+                    <td class="tei tei-item">Woman helping a man attire
+                    himself in ceremonial dress.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">185</th>
+
+                    <td class="tei tei-item">Woman bending over to see a baby
+                    which another woman is nursing while seated before a
+                    mirror, arranging her hair.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">186</th>
+
+                    <td class="tei tei-item">Woman talking to a fan-mount
+                    vendor.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">187</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Triptych.</span></em> The
+                    persimmon-gatherers.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">188</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Triptych.</span></em> Procession of
+                    a noble lady and women attendants on their way to a
+                    temple, bearing offerings.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY HOWARD MANSFIELD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">189</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Triptych.</span></em> Shadows on the
+                    shoji. Illustrations of three effects of sake (rice
+                    wine).</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">190</th>
+
+                    <td class="tei tei-item">Woman arranging flowers.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">191</th>
+
+                    <td class="tei tei-item">The kitchen. One sheet of a
+                    diptych.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">192</th>
+
+                    <td class="tei tei-item">A night excursion. One of
+                    Utamaro's most famous prints.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY HAMILTON EASTER FIELD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">193</th>
+
+                    <td class="tei tei-item">Hairdresser combing a girl's
+                    hair.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">194</th>
+
+                    <td class="tei tei-item">Woman with a young boy on her
+                    back, watching three puppies at play.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">195</th>
+
+                    <td class="tei tei-item">Kitao Masanobu drunk with sake
+                    at a fête in a daimyo's palace. Part of a triptych.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY A COLLECTOR</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">196</th>
+
+                    <td class="tei tei-item">Woman wearing a black zukin, and
+                    a maid bearing a lantern.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">197</th>
+
+                    <td class="tei tei-item">Woman standing on a pier,
+                    holding an umbrella, and conversing with a man seated
+                    under the canopy of a boat.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">198</th>
+
+                    <td class="tei tei-item">Woman bearing a teacup on a
+                    lacquer stand.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">199</th>
+
+                    <td class="tei tei-item">Woman raising the mosquito
+                    netting over her bed to read a letter by the light of an
+                    andon.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">200</th>
+
+                    <td class="tei tei-item">Three performers in a niwaka, or
+                    burlesque theatrical procession, in the streets of the
+                    Yoshiwara.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">201</th>
+
+                    <td class="tei tei-item">Woman holding in her mouth a
+                    <span class="tei tei-q">“pokan-pokan”</span>—a musical
+                    toy of thin glass which makes a peculiar sound when air
+                    is blown through it.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">202</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Triptych.</span></em> Boating
+                    party.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">203</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Triptych.</span></em> The awabé
+                    divers of Isé.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">204</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Triptych.</span></em> Women and
+                    children on a bridge.</td>
+                  </tr>
+                </tbody>
+              </table><a name="fig30" id="fig30"></a>
+
+              <div class="tei tei-figure" style="text-align: center">
+                <img src="images/cat201.jpg" alt=
+                "UTAMARO. Woman with a Musical Toy." title=
+                "UTAMARO. Woman with a Musical Toy." />
+
+                <div class="tei tei-head" style=
+                "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+                UTAMARO. Woman with a Musical Toy.
+                </div>
+              </div>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            UTAGAWA TOYOKUNI</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">A brilliant
+            artist of high repute in his day. Some of his prints, especially
+            the earlier ones, are of distinguished quality. He was born in
+            1769 and died on February 24, 1825.</p>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY A HAMILTON EASTER FIELD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">205</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Triptych.</span></em> Street scene
+                    in the Yoshiwara.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">206</th>
+
+                    <td class="tei tei-item">Large head of an actor.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY HAMILTON EASTER FIELD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">207</th>
+
+                    <td class="tei tei-item">The actor Koraiya.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY HOWARD MANSFIELD.</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">208</th>
+
+                    <td class="tei tei-item">Musume raising a large
+                    umbrella.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">209</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Triptych.</span></em> Women in a
+                    public bath-house.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">210</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Triptych.</span></em> The Six
+                    Tamagawa, represented by six women washing strips of
+                    cloth in a rapid-flowing stream.</td>
+                  </tr>
+                </tbody>
+              </table>
+            </div>
+
+            <div class="tei tei-div" style=
+            "margin-bottom: 2.00em; margin-top: 2.00em">
+              <h4 class="tei tei-head" style=
+              "text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">
+              LENT BY A COLLECTOR</h4>
+
+              <table summary="This is a list." class="tei tei-list" style=
+              "margin-bottom: 1.00em; margin-top: 1.00em">
+                <tbody>
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">211</th>
+
+                    <td class="tei tei-item">Woman accompanied by a maid
+                    carrying a lantern.</td>
+                  </tr>
+
+                  <tr class="tei tei-labelitem">
+                    <th class="tei tei-label">212</th>
+
+                    <td class="tei tei-item"><em class=
+                    "tei tei-emph"><span style=
+                    "font-style: italic">Triptych.</span></em> Lady emerging
+                    from a kago; her attendants grouped about her.</td>
+                  </tr>
+                </tbody>
+              </table><a name="fig31" id="fig31"></a>
+
+              <div class="tei tei-figure" style="text-align: center">
+                <img src="images/cat209.jpg" alt=
+                "TOYOKUNI. Women in Bath House." title=
+                "TOYOKUNI. Women in Bath House." />
+
+                <div class="tei tei-head" style=
+                "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+                TOYOKUNI. Women in Bath House.
+                </div>
+              </div>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            KATSUSHIKA HOKUSAI</h3>
+
+            <p class="tei tei-p" style="margin-bottom: 1.00em">A master of
+            extraordinary versatility and power. Perhaps the most widely
+            known of all the Japanese artists. He was born in 1760 and died
+            in the spring of 1849.</p><span class="tei tei-pb" id=
+            "page51">[pg 51]</span>
+
+            <table summary="This is a list." class="tei tei-list" style=
+            "margin-bottom: 1.00em; margin-top: 1.00em">
+              <tbody>
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">213</th>
+
+                  <td class="tei tei-item">Winter landscape.</td>
+                </tr>
+
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">214</th>
+
+                  <td class="tei tei-item">Cranes on a snow-laden pine
+                  tree.</td>
+                </tr>
+
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">215</th>
+
+                  <td class="tei tei-item">Iris.</td>
+                </tr>
+
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">216</th>
+
+                  <td class="tei tei-item">Turtles swimming.</td>
+                </tr>
+              </tbody>
+            </table>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em">
+            <span style="font-size: 120%">LENT BY HAMILTON EASTER
+            FIELD.</span></h3>
+
+            <table summary="This is a list." class="tei tei-list" style=
+            "margin-bottom: 1.00em; margin-top: 1.00em">
+              <tbody>
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">217</th>
+
+                  <td class="tei tei-item">Fuji san seen beneath a wave of
+                  the sea at Kanazawa. Hokusai's famous <span class=
+                  "tei tei-q">“wave.”</span></td>
+                </tr>
+              </tbody>
+            </table>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em">
+            <span style="font-size: 120%">LENT BY HOWARD
+            MANSFIELD.</span></h3>
+
+            <table summary="This is a list." class="tei tei-list" style=
+            "margin-bottom: 1.00em; margin-top: 1.00em">
+              <tbody>
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">218</th>
+
+                  <td class="tei tei-item">View of Fuji from Ushibori; a
+                  large boat moored in the foreground.</td>
+                </tr>
+              </tbody>
+            </table><a name="fig32" id="fig32"></a>
+
+            <div class="tei tei-figure" style="text-align: center">
+              <img src="images/cat218.jpg" alt="HOKUSAI. Fuji from Ushibori."
+              title="HOKUSAI. Fuji from Ushibori." />
+
+              <div class="tei tei-head" style=
+              "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+              HOKUSAI. Fuji from Ushibori.
+              </div>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em">
+            <span style="font-size: 120%">LENT BY A COLLECTOR</span></h3>
+
+            <table summary="This is a list." class="tei tei-list" style=
+            "margin-bottom: 1.00em; margin-top: 1.00em">
+              <tbody>
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">219</th>
+
+                  <td class="tei tei-item">Winter landscape.</td>
+                </tr>
+              </tbody>
+            </table>
+          </div>
+        </div>
+
+        <div class="tei tei-div" style=
+        "margin-bottom: 4.00em; margin-top: 4.00em">
+          <h2 class="tei tei-head" style=
+          "text-align: center; margin-bottom: 2.40em; margin-top: 2.40em">
+          <span style="font-size: 120%">ANDO HIROSHIGE</span></h2>
+
+          <p class="tei tei-p" style="margin-bottom: 1.00em">The last great
+          artist of the Ukiyoé school, and a consummate master of landscape
+          art. Born in 1797 and died on October 12, 1858.</p>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em">
+            <span style="font-size: 120%">LENT BY HAMILTON EASTER
+            FIELD.</span></h3>
+
+            <table summary="This is a list." class="tei tei-list" style=
+            "margin-bottom: 1.00em; margin-top: 1.00em">
+              <tbody>
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">220</th>
+
+                  <td class="tei tei-item">A cold morning at Shono, on the
+                  ToÌkaidoÌ.</td>
+                </tr>
+
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">221</th>
+
+                  <td class="tei tei-item">View of Fuji san from Goyo.</td>
+                </tr>
+
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">222</th>
+
+                  <td class="tei tei-item">Pine trees on the shore at
+                  Hamamatsu.</td>
+                </tr>
+
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">223</th>
+
+                  <td class="tei tei-item">Flying kites at Fukuroi.</td>
+                </tr>
+
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">224</th>
+
+                  <td class="tei tei-item">The <span class="tei tei-q">“fox
+                  fires”</span> at OÌji.</td>
+                </tr>
+
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">225</th>
+
+                  <td class="tei tei-item">Kinryusan, Asakusa, in snow.</td>
+                </tr>
+
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">226</th>
+
+                  <td class="tei tei-item">The fields back of Asakusa seen
+                  from a window through which a white cat is looking
+                  out.</td>
+                </tr>
+
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">227</th>
+
+                  <td class="tei tei-item">Travellers in snow at
+                  Ishiyakushi.</td>
+                </tr>
+              </tbody>
+            </table><a name="fig33" id="fig33"></a>
+
+            <div class="tei tei-figure" style="text-align: center">
+              <img src="images/cat222.jpg" alt=
+              "HIROSHIGE. Pines at Hammamatsu." title=
+              "HIROSHIGE. Pines at Hammamatsu." />
+
+              <div class="tei tei-head" style=
+              "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">
+              HIROSHIGE. Pines at Hammamatsu.
+              </div>
+            </div>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em">
+            LENT BY ALBERT GALLATIN.</h3>
+
+            <table summary="This is a list." class="tei tei-list" style=
+            "margin-bottom: 1.00em; margin-top: 1.00em">
+              <tbody>
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">228</th>
+
+                  <td class="tei tei-item">Evening rain at Azumasha.</td>
+                </tr>
+              </tbody>
+            </table><span class="tei tei-pb" id="page53">[pg 53]</span>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <span class="tei tei-pb" id="page52">[pg 52]</span>
+
+            <h3 class="tei tei-head" style=
+            "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em">
+            <span style="font-size: 120%">LENT BY A COLLECTOR</span></h3>
+
+            <table summary="This is a list." class="tei tei-list" style=
+            "margin-bottom: 1.00em; margin-top: 1.00em">
+              <tbody>
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">229</th>
+
+                  <td class="tei tei-item">Autumn moon over the river
+                  Tama.</td>
+                </tr>
+
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">230</th>
+
+                  <td class="tei tei-item">The evening glow at Setta.</td>
+                </tr>
+
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">231</th>
+
+                  <td class="tei tei-item">The crowd in Ni ChoÌ (Second
+                  Street) at night. At the right is the Ichimura theatre,
+                  upon which and upon the tea-house across the way are tall
+                  signs advertising plays and actors.</td>
+                </tr>
+
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">232</th>
+
+                  <td class="tei tei-item">Aowi and bird.</td>
+                </tr>
+
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">233</th>
+
+                  <td class="tei tei-item">Pheasant and young pine trees upon
+                  a steep hillside.</td>
+                </tr>
+
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">234</th>
+
+                  <td class="tei tei-item">Raftsman on the Sumida river in a
+                  snow storm.</td>
+                </tr>
+              </tbody>
+            </table>
+          </div>
+
+          <div class="tei tei-div" style=
+          "margin-bottom: 3.00em; margin-top: 3.00em">
+            <h3 class="tei tei-head" style=
+            "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em">
+            <span style="font-size: 120%">LENT BY HOWARD
+            MANSFIELD.</span></h3>
+
+            <table summary="This is a list." class="tei tei-list" style=
+            "margin-bottom: 1.00em; margin-top: 1.00em">
+              <tbody>
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">235</th>
+
+                  <td class="tei tei-item">Shower at ShoÌno.</td>
+                </tr>
+
+                <tr class="tei tei-labelitem">
+                  <th class="tei tei-label">236</th>
+
+                  <td class="tei tei-item">GyoÌtoku; boats returning.</td>
+                </tr>
+              </tbody>
+            </table>
+          </div>
+        </div>
+      </div>
+    </div>
+
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+***END OF THE PROJECT GUTENBERG EBOOK JAPANESE COLOUR-PRINTS AND THEIR DESIGNERS***
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+<title>Japanese Colour-Prints and Their Designers</title>
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+<date value="2013-05-25">May 25, 2013</date>
+<respStmt><name>Martin Schub</name></respStmt>
+<item>Project Gutenberg edition 10</item>
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+</div>
+
+<figure url="images/cat069.jpg" rend="w90; page-float: 'ht'; page-break-before: right">
+<index index="fig" />
+<head>HARUNOBU. Lovers walking in Snow.</head>
+<figDesc>HARUNOBU. Lovers walking in Snow.</figDesc>
+</figure>
+
+<titlePage rend="page-break-before: right; text-align: center">
+ <docTitle><titlePart type="main" rend="font-size: x-large">Japanese Colour-Prints and Their Designers</titlePart><lb /><lb/>
+ <titlePart type="sub" rend="font-size: large">A Lecture Delivered Before the Japan Society of New York on April 19, 1911</titlePart>
+</docTitle>
+ <byline><lb /><lb /><lb /><lb /><lb />By <docAuthor>Frederick William Gookin</docAuthor><lb /><lb /><lb /><lb /><lb /></byline>
+
+<docImprint>New York<lb />
+The Japan Society<lb /><lb /></docImprint>
+<docDate>1913</docDate>
+</titlePage>
+
+<div rend="page-break-before: right">
+<index index="pdf" />
+<head>Contents</head>
+<divGen type="toc" />
+</div>
+
+<div rend="page-break-before: right">
+<head>Illustrations</head>
+<divGen type="fig" />
+</div>
+
+</front>
+
+
+<body>
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>JAPANESE COLOUR-PRINTS AND THEIR DESIGNERS</head>
+
+<pb n="3" />
+<p>
+In the annals of art production the colour-prints designed by the master artists of the Ukiyo&eacute; school occupy a unique place. They represent a plebeian art which was not a spontaneous upgrowth from the soil, but, so to speak, a down-growth or offshoot from an old and highly developed art of aristocratic lineage.
+</p>
+<p>
+This elder art had its fountain-head in ancient China. That country, during the Tang and the Sung dynasties (618-905, 960-1280), was the seat of an aesthetic movement during which painting and other arts reached an extraordinarily high development. To the works produced during this great flowering-time of art the Japanese painters of the classical schools turned for inspiration and enlightenment. These works were distinguished by singleness of purpose, rhythmic vitality, and synthetic coherence, and by a clear conception of the essential that goes far beyond anything elsewhere attained, and which, when fully apprehended, must inevitably force a revision of Western ideas and criteria.
+</p>
+<p>
+The art of ancient China and of the earlier Japanese schools is an art refined, poetic, and intensive to the last degree. It is based upon profound understanding of aesthetic laws. The artists were carefully grounded in the fundamental principles that govern all art, whether Oriental or Occidental. The result of this training is apparent in the homogeneity of their works. In Europe very confused notions have prevailed as to what should be done and what is permissible in art. Not even the great artists have always seen clearly; had they done so, it cannot be doubted that Western achievement would have attained a much higher level than it has ever reached.
+</p>
+<p>
+In the Japanese modifications of the ancient Chinese art its traditions
+<pb n="4" />
+and aesthetic ideals were sedulously preserved. With only rare exceptions, the artists&mdash;and under this head it is necessary to include potters, lacquerers, metal-workers, swordsmiths, and others&mdash;were drawn from the upper classes. Many of them were in the service of the daimyo, and did not sell their productions, but received from their noble patrons regular stipends in koku of rice. Seldom did any of their works find their way into the hands of the common people, who had little opportunity, therefore, to become familiar with them. Gradually, however, as the number of paintings, statues, and other art objects multiplied and the temples were filled with votive offerings, the classical art made its impress upon buildings, wearing apparel, and utensils of all sorts; its conventions and principles were laid hold of by all classes and became the heritage of the entire people.
+</p>
+
+<figure url="images/cat001.jpg" rend="w90; page-float: 'ht'">
+<index index="fig" />
+<head>MORONOBU.  Nobleman and two Ladies at Seashore.</head>
+<figDesc>MORONOBU.  Nobleman and two Ladies at Seashore.</figDesc>
+</figure>
+
+<p>
+The social fabric in old Japan was one of sharp distinctions. At the upper end of the scale were the Emperor; the kuge, or court nobles; the daimyo, or lords of the two hundred and fifty-one provinces; and the samurai, or hereditary military men, from whom were recruited the officials, priests, and scholars. Between these and the lower classes was an almost immeasurable gulf. Highest among the heimen, or commoners, were the farmers. Below them were the artisans, and still lower were the merchants, innkeepers, servants, and the like; while lowest of all were the eta, or outcasts, a class comprising scavengers, butchers, leather-workers, and others engaged in what were considered degrading occupations.
+</p>
+<p>
+Under the peaceful regime of the Tokugawa shoguns there was a sociological change that in the cities almost amounted to a transformation. The most salient feature was the rise of the tradesmen and artisans to wealth and power. Many places of amusement sprang up, restaurants and tea-houses multiplied, jugglers, story-tellers, musicians, and other itinerant entertainers found audiences in every street, f&ecirc;tes were frequently held in the temple compounds, the theatre rose to a position of prominence, and the yukwaku, or courtesan quarters, with their medley of attractions, became established institutions.
+</p>
+<p>
+The art of the Ukiyo&eacute; was a direct outcome of the gay life of this time. The inception of the school dates back to the closing years of the
+<pb n="5" />
+sixteenth century, when a reaction set in against the Chinese classicism of the Ashikaga period. This manifested itself in the choice of Japanese instead of Chinese subjects, and in novel treatment in which features of both the classic Kano and Tosa styles were combined, but which in many respects broke away from academic traditions. The reputed leader of the revolt was Iwasa Shoi, better known as Matahei, son of the Daimyo of Itami; but other distinguished artists, notably Kano Sanraku, also painted pictures in the new manner, which was not then held to constitute a distinct school. The subjects being drawn from the life of the people, these pictures were called Ukiyo&eacute;. &Eacute; is the Japanese term for a picture or drawing.<note place="foot">
+<p>
+<emph>&Eacute;</emph> and <emph>y&eacute;</emph> both have this meaning. They are pronounced alike, the y being silent, but are represented by different ideographs.
+</p>
+</note> Ukiyo, as originally written, had a Buddhistic signification and was applied to the secular as distinguished from the ecclesiastical world. Literally the word means <q>the miserable world,</q> but as now used it may be more accurately translated as <q>the passing (or floating) world of every-day life.</q>
+</p>
+<p>
+Perhaps for the reason that Ukiyo&eacute; themes were not considered quite dignified, and because they did not express poetic ideas, the Ukiyo paintings of Matahei and his contemporaries and successors, though prized and much sought after, were seldom signed, and the identification of their authorship is a matter of extreme difficulty. For more than half a century works in this manner continued to be produced in considerable numbers, but the movement did not crystallize into a school until, in the person of Hishikawa Moronobu, a leader appeared to give it form and direction. Moronobu was an artist of rare distinction. His paintings were eagerly sought by the daimyos and the wealthier samurai. But Moronobu was a man of the people, and it was as a designer of book illustrations and later of ichimai-y&eacute;, or single-sheet prints, that he gave the impetus to Ukiyo&eacute;. For fifty years or more prior to his time books with engraved illustrations had been published in Japan, but they were comparatively few and the illustrations were poor and crudely executed. The twelve drawings Moronobu made for a book of instruction for women in etiquette and hygiene, published in 1659, marked a decided advance. This, so far as we know,
+<pb n="6" />
+was the first of a long series of books illustrated by him. Their popularity was deservedly great, and by them his fame became wide-spread. The illustrations were printed in black from blocks similar to those from which the text was printed, and were characterized by fine broad treatment and a rather wiry but strong and expressive outline.
+</p>
+<p>
+About 1670 Moronobu began to issue large single-sheet prints which could be affixed to screens or mounted as kakemono. These prints, which were impressions in black from one block only, are known as sumi-y&eacute;&mdash;<emph>sumi</emph> being the Japanese name for Chinese&mdash;or, as we incorrectly call it, India&mdash;ink. They were designed to be coloured by hand, and apparently a part of the edition was so coloured before being placed on sale by the publishers. At first this colouring consisted of a few touches of yellow-green crudely laid on; later it became more elaborate, and occasionally we meet with prints that are very beautifully coloured, but in such cases it is impossible to tell when or by whom the colouring was done. The probability is that in some instances it was the work of purchasers of the prints.
+</p>
+<p>
+Moronobu's pupils, of whom there were many, devoted themselves almost exclusively to painting. After his death in 1695, the production of prints fell chiefly into the hands of Torii Kiyonobu and his son Torii Kiyomasu, two artists who take rank among the most talented men of the Ukiyo&eacute; school. Moronobu had taken for the subjects of his prints historic incidents, the manners and customs of the people, and, in particular, women and their occupations and amusements. To these the Torii artists, seeing a new and fertile field for the print-designer in the rise of the theatre as a popular form of entertainment, added portraits of actors in the costumes of their most admired r&ocirc;les. Especially esteemed were Kiyonobu's portraits of the first Danju̅ro̅. During the Genroku period (1688-1704) the people developed a passion for the theatre that amounted to veritable madness. In the first quarter of the eighteenth century this reached a height that sorely troubled the Tokugawa rulers. To check it various expedients&mdash;among them the exclusion of women from the stage&mdash;were tried. They only added fuel to the flame. Certain gross practices were abolished. This helped to purify the theatre, but also to perpetuate it by removing the seeds
+<pb n="7" />
+of what must inevitably have meant its early decay. Actors of distinguished ability became popular idols. Their comings and goings were like royal progresses. Wherever they went, were it to view the cherry blossoms at Ueno, for a boating party on the river, or for a visit to the Yoshiwara, they moved in state. Yet their rank in the social scale was so low that they were looked upon as little better than eta. The earliest actors were contemptuously termed <emph>kawara-mono</emph> (river-bed folk), from the fact that the first theatrical performances in Japan were upon a stage erected in the dry bed of the Kamogawa at Kyoto. The stigma that attached to their origin and to the vulgarity of the early performances has never been entirely lifted. Many of the Ukiyo&eacute; artists felt it a degradation to make drawings of actors. Nevertheless the popular demand created a supply, and for more than a century a large proportion of the enormous output of prints consisted of theatrical scenes and portraits of the performers.
+</p>
+
+<figure url="images/cat013.jpg" rend="w90; page-float: 'ht'">
+<index index="fig" />
+<head>KIYOMASU. Actors' Boating Party</head>
+<figDesc>KIYOMASU. Actors' Boating Party</figDesc>
+</figure>
+
+<p>
+Many of the prints produced during the early years of the eighteenth century were large single figures of actors, geishas, and women of the Yoshiwara. These were broadly treated, with strong, free brush-strokes based upon the technique of the Kano masters and quite different from Moronobu's style, which was more nearly like that of the Tosa painters. Each of the classical schools, I may explain, had its own peculiar methods, for which brushes of special shape were required. In their spontaneity, their freedom, their glorious sweep of line, these prints are among the finest works of the Ukiyo&eacute; school. Among them are many masterpieces of linear composition. Yet by the people of the upper classes they were regarded as hopelessly vulgar. Though the Kano painters used similar sweeping strokes, they laid great stress upon carefully modulated tone. The notan, or lightness and darkness of the ink in different parts of the drawing, was an essential quality. It should not be confused with chiaroscuro, the science of light and shade. Notan signifies merely difference in lightness and darkness of tone. In the early prints this did not appear. All the lines were uniformly black. And the addition of colouring which was looked upon as coarse and gaudy was a further offence to persons of refined taste.
+</p>
+<pb n="8" />
+<p>
+Our vision not being hampered by the canons of the Kano academy, we can appreciate the distinguished character of these compositions. Unquestionably the brush-work of a Sesshu, a Motonobu, or a Tanyu&mdash;to name a few only of the most eminent of the Japanese painters&mdash;has a precious quality not to be found in any printed line.<note place="foot">
+<p>
+It is well to bear in mind that as the prints are not to be considered as paintings, they should not be compared with paintings.
+</p>
+</note> Nevertheless the primitive Ukiyo&eacute; prints have a freshness and vital force peculiarly their own. The word <q>primitive</q> as applied to these prints calls for a word of explanation. They are primitive, not in their art, which is highly developed, but merely as regards its application to wood-engraving.
+</p>
+<p>
+The failure of Japanese connoisseurs to appreciate Ukiyo&eacute; art is not, however, entirely or even principally because of its technique. The art of the classical schools is deeply imbued with poetic feeling and usually is dignified in subject. Ukiyo&eacute; art, on the contrary, is flippant, whimsical, comic. Except when it deals with portraits, landscapes, or birds and flowers&mdash;subjects that are not strictly Ukiyo&eacute;&mdash;it is seldom that the things depicted are intended to be taken quite seriously. In nearly every picture there is some joke, open or cleverly hidden, some amusing fantasy in the shape of a modern analogue or travesty of popular myth, well-known tale, or historical event. Sly hits at the vices or follies of the aristocrats are not uncommon. A very large proportion of the subjects deals with the theatre and the denizens of the Yoshiwara. To the Japanese of the upper classes Ukiyo&eacute; art was a synonym for the art of the underworld. It is not surprising that they failed to appreciate its merit. To give Ukiyo&eacute; paintings or prints an honourable place in one's house was a confession of lack of taste. Were there no other reason, the subjects for the most part rendered them unfit, if not impossible. The prints were indeed amusing, and therefore many of them were saved; but they were looked upon much as we regard the pictures in our comic periodicals. Even when the art in these is good, it is hard to disassociate it from the humour and to enjoy it for itself alone. More commonly we fail to appreciate it as art or even to think of it as such. So it was with the prints. To the Japanese they
+<pb n="9" />
+appeared little better than children's toys. In considering this we should not overlook the important circumstance that when first printed they were in general less charming than they are to-day. The wonderful colour that makes them so entrancing has come in large measure through the mellowing influence of time. Not infrequently this has wrought transformations that would seem incredible did not close study show clearly the changes that have taken place.
+</p>
+
+<figure url="images/cat024.jpg" rend="w30; page-float: 'ht'">
+<index index="fig" />
+<head>MASANOBU. Geisha playing Samisen.</head>
+<figDesc>MASANOBU. Geisha playing Samisen.</figDesc>
+</figure>
+
+<p>
+Even to-day inherited prejudice prevents wide-spread appreciation of the prints in the land of their origin. Our enthusiastic admiration is still more or less a mystery to our neighbours across the Pacific. Only now, when most of the fine prints have passed into the hands of European and American collectors, are the Japanese connoisseurs beginning to understand how it is that the Western art-lover, unfettered by any traditional point of view and not disturbed by any meanings the subject may hold or suggest, is able to perceive the glorious colour, the superb composition, the masterly treatment and rare beauty to which they have been blind.
+</p>
+<p>
+The history of art is everywhere among civilized peoples a record of the influence of a succession of ideas, each in turn dominating for a longer or a shorter period the character of what is produced. When an idea has sufficient vitality to constitute the germ of a specific type of art, and artists of creative genius are inspired by it, the votaries working under the stimulus of a common ideal form what we designate as a school. <q>When left to pursue its course of development unchecked,</q> each marked type of art, as John Addington Symonds pointed out in one of his essays, <q>passes through stages corresponding to the embryonic, the adolescent, the matured, the decadent, and the exhausted,</q> This sequence, he showed, was clearly marked in the evolution of Italian painting, the Attic and the Elizabethan drama. Any of the classic schools of Japanese painting, the Kos&eacute;, the Yamato, the Sesshu, or the Kano, would furnish an excellent illustration, though in studying these movements it would be necessary to follow them back to their Chinese antecedents. The Ukiyo&eacute; school affords a particularly striking example. In the works of the earlier artists&mdash;Moronobu, Kiyonobu, Kiyomasu, and the Kwaigetsudo̅ group&mdash;we find
+<pb n="10" />
+superabundant vigour, swift inspiration, and splendid though sometimes brutal force. The note of prophecy that these works contain is found also in those of the next generation of artists, foremost among whom was Okumura Masanobu. The fire of enthusiasm still glows brightly, but more attention is paid to subtleties of style, to beauty of detail, and to the development of technical processes. Hand-coloured prints are superseded by those in which the colour as well as the black outline is printed. Ukiyo&eacute; has become an art of the printed pictures which in large measure have taken the place of paintings.
+</p>
+<p>
+Then, after a brief interval of eager experiment and rapid changes, comes the flowering-time, when a group of great artists turn out by the thousand works in which spiritual intensity is combined with grace, beauty, refinement of composition, and technical perfection. This is the epoch of Harunobu, Shunsho̅, Shigemasa, Koryusai, Kiyonaga, and Shuncho̅.
+</p>
+<p>
+The decline of the initial impetus that brought the school into being is plainly apparent in the works of the next generation. Utamaro was an artist of the very first rank, whose genius cannot be gainsaid; Eishi and Toyokuni were only a little less brilliant; but it was their misfortune to come upon the scene when the cycle of animating ideas had been exhausted. Too virile to be content merely to echo the performances of their predecessors, they spent their energy in inventing variations upon the perfected type. It was the only course open to them, but it led steadily and swiftly downward, though neither the artists nor the people who gleefully applauded each successive innovation were conscious of the decadence.
+</p>
+<p>
+With the appearance of still another generation of artists upon the scene, the degradation of the school was complete. Artistic feeling was obscured by blatant vulgarity and affectation. There was a steady letting down to the level of the popular taste, which was steadily lowered in consequence. The skill of the more able artists was expended in the production of works interesting chiefly as <emph>tours de force,</emph> more remarkable for technical than for artistic merit; the tendency toward exaggerated drawing became more pronounced; colouring grew more crude, raw, and over-vivid. Coincident with this decline in the art of
+<pb n="11" />
+the Popular School was a change for the worse in the fashions of the time. Loud patterns for brocades and other fabrics came into vogue; garments became showy and elaborate; coiffures, more especially those of the demi-monde, were often startling in their extravagance. As the prints were accurate mirrors of contemporary life, in these changed fashions may be found a partial explanation of the inferiority of the works of the later men. The Ukiyo&eacute; Ryu̅ was a school of design which laid its impress upon all of the arts. The prints were but one of its phases, though the principal and the most distinguished of them. The rise, culmination, and disintegration took place all along the line. Toward the middle of the nineteenth century the Ukiyo&eacute; school sank into the dotage of decrepitude, and then into the sleep from which there is no awakening. I choose this phrase deliberately. An art that is of the past can never be revived. We may strive to work in the style of Harunobu or of Kiyonaga. All we can do is to copy their forms and imitate their mannerisms. We cannot possibly get our inspiration from the same source as they; that dried up at the fountain-head long ago. The best work we can do in their style must necessarily lack creative force and be without a spark of real vitality.
+</p>
+<p>
+Primarily the charm of the Ukiyo&eacute; colour-prints is due to the fact that the leading masters of the school were artists of exceptional power. It is also due to the fact that most of them<note place="foot">
+<p>
+A few men of first-rate ability were exclusively painters. Among these Miyagawa Cho̅shun is the most conspicuous. The Kwaigetsudo artists, also, though they designed a few prints, were painters rather than print-designers.
+</p>
+</note> made print-designing their chief occupation, to which they devoted their thought, time, and skill, and that with rare exceptions they were less distinguished as painters.
+</p>
+
+<figure url="images/cat038.jpg" rend="w50; page-float: 'ht'">
+<index index="fig" />
+<head>TOYONOBU.  Actor reading Letter</head>
+<figDesc>TOYONOBU.  Actor reading Letter</figDesc>
+</figure>
+
+<p>
+From about 1670, when Moronobu began to issue single-sheet prints, until about 1742, a period of at least seventy years, the prints were in black outline and were coloured by hand. They were, in fact, cheap paintings.  Early in the eighteenth century the chief pigment used in colouring them was red lead. The Japanese name for this pigment is tan, and the prints upon which it appears are designated as tan-y&eacute;. About 1710 yellow and citrine were commonly used with the tan. Four or five years later a new style of hand-colouring, said to have been 
+<pb n="12" />
+devised by Torii Kiyonobu, came into vogue and greatly modified the style in which the prints were designed. In place of tan he substituted beni, a very beautiful but fugitive red extracted from the saffron. This was used in combination with a greenish yellow (probably gamboge) and low-toned blues and purples. Finer details were introduced into the designs, and the colouring in general was more carefully done. In response to a growing demand for less expensive pieces smaller prints (hoso-y&eacute;) became common. To give brilliance to the pigments a little thin lacquer (urushi) was mixed with them, and, while wet, parts of the design were sprinkled with metallic powder, which was probably applied by blowing it through a small bamboo tube. These prints were known as urushi-y&eacute;, or lacquer prints. A little later the custom grew up of painting parts of the prints with black lacquer.
+</p>
+<p>
+Not until the year 1742 did the practice begin of applying colour by impressions from flat wood blocks. Why the invention should have been so long delayed, and why, after it was once made, nearly fourteen years more should have elapsed before the number of colour-blocks was increased beyond two, are questions to which no certain answer is yet forthcoming. It is incredible that during the forty years when innumerable hand-coloured prints were issued no one should have conceived the idea of printing the colour as well as the black outline. Without doubt some practical difficulty connected with the printing stood in the way. Possibly the thing that awaited discovery was the trick of mixing rice paste with the colour to keep it from running. Or, as is more likely, it took a long while to discover a practical method of securing accurate register in impressions made upon damp paper which was liable to stretch or shrink during the printing process. Whatever the problem may have been, the honour of the solution is due to Okumura Masanobu. Being a publisher as well as an artist, he was no doubt alive to the economic advantage of a cheaper process and to the attraction of novelty. Some years earlier he had invented the hashira-y&eacute;, or pillar-print, and had also put forth a series of prints that show a fair understanding of the laws of linear perspective to which he gave the name of Ukiy&eacute;. Being an artist as well as a publisher, Masanobu perceived that the change in process called for a change in the
+<pb n="13" />
+style of the designs. The very first of the new prints, therefore, were characterized by finer and more exquisite detail than was suitable for the hand-coloured editions. The colours used were beni and a soft green; and the name beni-y&eacute;, which had been applied to the hand-coloured prints in which beni was used, was also given to them. A happier selection of colours could not have been made. By thinning the red and modifying the hue of the green a wide range of effects was secured. Almost every possible combination and variation was tried during the fourteen or fifteen years that the beni-y&eacute; were in vogue. The world is far richer because of this long period before the number of colour-blocks was increased, since time was afforded to work out the decorative possibilities resulting from the limitation to two colours and black and white. This limitation demanded fine skill and creative resource in the
+invention of pattern and the distribution of the colours employed.<note place="foot">
+<p>
+The word <q>limitation</q> in this connection is to be understood in a relative sense. Actually the resources at the artists' command were not insignificant. Upon any one of the four possible grounds&mdash;black, white, red, and green&mdash;there might be a pattern in either one, or any two, or all three of the other colours, and the possible combinations of surfaces so patterned are several hundred in number. If variations in the patterns and differences in tone-values resulting therefrom be also taken into consideration, the number is vastly increased.
+</p>
+</note> The results achieved were remarkable. Until one has seen them it is impossible to realize that so much life and vivacity of colouring could be given by impressions from two blocks charged with rose and green.
+</p>
+
+<figure url="images/cat046.jpg" rend="w90; page-float: 'ht'">
+<index index="fig" />
+<head>KIYOMITSU. Daimyo Procession Game.</head>
+<figDesc>KIYOMITSU. Daimyo Procession Game.</figDesc>
+</figure>
+
+<p>
+By many the beni-y&eacute; are regarded as the choicest products of the school. So charming were they when first printed that they speedily drove the urushi-y&eacute; prints out of the market, with the exception of the tall hashira-y&eacute;, or pillar prints, of which hand-coloured editions continued to be produced for a year or two, to satisfy those who still wished paintings rather than prints. Most of the beni-y&eacute; that have survived until our time are very much faded. The beni has quite generally turned into a soft yellow or disappeared altogether. The green is more stable, but that also has in many instances become a warm citrine or russet. Extremely rare are the specimens in which the original colour has not suffered material modification.
+</p>
+<p>
+From the testimony of the prints themselves it appears probable that very soon after Okumura Masanobu issued the first prints in beni and green, similar prints were put forth by Nishimura Shigenaga, Ishikawa
+<pb n="14" />
+Toyonobu, Torii Shiro (otherwise Kiyonobu the second), and all the Yedo print-designers, among them the veteran Torii Kiyomasu. None of these men seems to have attempted any marked departure from the type established by Okumura. About 1755, however, a group of young men appeared upon the scene, who were fired with zeal for further experiments. The leaders were Torii Kiyomitsu, Kitao Shigemasa, and Suzuki Harunobu. Kiyomitsu began by trying novel colour schemes such as two tones of beni instead of beni and green. Then he tried a third colour-block. After this new developments followed in rapid succession. The variety and range of the colour schemes broadened almost from day to day. At first the wider resources proved an embarrassment, but the mastery attained in dealing with the simpler means soon enabled the artists to take advantage of them. Invention was stimulated. In 1764 a printer named Kinroku discovered a method by which printing in colours from many blocks became possible. We can only guess at the nature of the difficulty that was surmounted; but as it is known that the printing was usually done upon dampened paper, it is evident that the stretching or shrinking of the sheets, to which I have already referred, must have proved extremely troublesome, and that every additional block must have multiplied the liability to defective register. It is reasonably safe to assume, therefore, that to find some means of overcoming this was the problem which remained unsolved for so many years.
+</p>
+
+<figure url="images/cat057.jpg" rend="w90; page-float: 'ht'">
+<index index="fig" />
+<head>HARUNOBU. Young Woman before Torii.</head>
+<figDesc>HARUNOBU. Young Woman before Torii.</figDesc>
+</figure>
+
+<p>
+The name of Suzuki Harunobu is familiar to every admirer of Japanese prints. It is in large measure to his genius that the development of full-colour printing is due. He was not only the first artist to make use of the new process, but he took advantage of it to bring out prints of a novel type. Very dainty and graceful these were, and in the poetic allusions or quiet humour with which they were charged, and in the quality of the brush-strokes with which the drawings were executed, they made a direct appeal to men of taste. Success was instantaneous. By the year 1765 Harunobu had come to the front and distanced all competitors for popular favour. The serenity and compelling charm of his compositions brought him wide fame. Realizing the possibilities that now lay before him, he proudly exclaimed, <q>Why should I degrade
+<pb n="15" />
+myself by the delineation of actors?</q> His ambition, he said, was to become <q>the true successor of the painters in the department of printing</q>; that is to say, to design prints that should be worthy substitutes for paintings. Instead of restricting himself to a few primary or secondary hues and the variations resulting from their superposition, he mixed his colours to get the precise tint desired, and he used as many colour-blocks as were needed for the effects at which he aimed. The Yedo-y&eacute;, or Yedo pictures, as the prints had been called from the fact that they were produced only at the eastern capital, were now denominated nishiki-y&eacute;, or brocade pictures, from the number of colours woven together in them. To the printing itself, the charging of the blocks with colour, the character and quality of the pigments and of the paper used, Harunobu gave careful attention, and these things were greatly improved as a result of his experiments.
+</p>
+<p>
+Under his leadership the art now entered upon the period of its greatest triumphs. In the eager search for novel subjects scarcely anything was left untouched. History, mythology, and romance, the numberless f&ecirc;tes and merrymakings of the people and the daily routine of their lives, representations of celebrated poets and heroes, scenes from the drama, portraits of popular actors and courtesans, the revels of the Yoshiwara, animals and plants, familiar scenes and famous landscapes, furnished motives for almost endless broadsheets and book illustrations. No other art was ever more crowded with human interest.
+</p>
+<p>
+The forward movement in print-designing at this epoch was helped on by a number of highly gifted artists who seem to have worked together to some extent. Katsukawa Shunsho̅, who took up the theatrical branch of print-designing that Harunobu scorned, is one of the most distinguished masters of the Ukiyo&eacute; school. He was a designer of marked power, a colourist of the first rank. His works are not yet appreciated as they should be, but the finest of them yield pure aesthetic delight of most exalted quality. Kitao Shigemasa, Ippitsusai Buncho̅, and Isoda Koryusai also rank among the first-rate men of this period. In the contest for popular favour during the ten years following the death of Harunobu, which took place in the summer of 1770, it has been said that the guerdon rested upon Koryusai, but that is a mistake,
+<pb n="16" />
+for both Shunsho̅ and Shigemasa stood higher in the estimation of qualified judges. All, however, were surpassed a few years later by Kiyonaga, the last great artist of the Torii line and the culminating figure in the history of the Popular School. He conquered by the rugged strength and marvellous quality of his brush-strokes, by the richness of his colouring and the ripe mastery he displayed over all the resources of his craft. But also he created a new type of design&mdash;that which found expression in the great diptychs and triptychs that stand as the triumphs of colour-printing. At the height of his power his influence over his contemporaries was so great that, without exception, the younger men among them copied his style as closely as they could.
+</p>
+<p>
+When Kiyonaga, about 1793, stopped designing prints, the decadence had already set in. The decade that followed was a period of rapid deterioration, with Utamaro as its particular evil genius. Yet many of the most splendid of the prints were produced in that decade. Where shall we look for anything finer than Eishi's wonderful series with the chocolate background, or his triptychs of the Prince Genji series? Where shall we find anything to equal the brilliant characterization of Sharaku's actor portraits? Where else shall we turn for such marvellously facile rhythmic line, such swift, vital handling as that which made Utamaro's masterpieces the despair of his many imitators? Toyokuni also designed many fine prints; but as he was a man of less force than the others I have named, he fell faster and farther than they did, and fewer of his works command our admiration.
+</p>
+
+<figure url="images/cat070.jpg" rend="w90; page-float: 'ht'">
+<index index="fig" />
+<head>HARUNOBU.  The Sleeping Elder Sister.</head>
+<figDesc>HARUNOBU.  The Sleeping Elder Sister.</figDesc>
+</figure>
+
+<p>
+I have left myself little time to speak of two eminent artists, both of them world-renowned, who by their genius made the latter years of the Ukiyo&eacute; school as notable in their way as any in its entire history. Either Hokusai or Hiroshige might well engage our attention for an entire evening. Both were extraordinarily prolific; Hokusai was the more versatile and has the wider reputation. Both are among the greatest landscape artists the world has ever known. Their numerous prints of landscapes are a revelation of the possibilities of originality in composition and variety of interest in this field. Unless one has studied these prints in fine examples, it is impossible to realize how great is their
+<pb n="17" />
+merit. This is true of all the prints, but particularly true of Hiroshige's. Between the best impressions and the very good ones the difference is really astonishing. But the best are so extremely rare as to make it probable that because of the difficulty and the cost of printing, very few of them were issued&mdash;the publishers finding cheaper editions more profitable.
+</p>
+<p>
+Though classed as Ukiyo&eacute; artists, Hokusai and Hiroshige really represent a separate movement which undoubtedly would have crystallized into a distinct school had worthy followers arisen to carry it forward, had the times been different, and, last but not least, had the genius of the two masters been less transcendent.
+</p>
+<p>
+In this sketch of the history of the art of Ukiyo&eacute; colour-printing only the more salient features have been touched upon. Of the prints themselves it is not too much to say that the finest of them are the most beautiful specimens of printing that have been done in any land at any time.
+</p>
+<p>
+Yet none but the most primitive methods&mdash;or what from our point of view may seem such&mdash;were employed. The most wonderful among all the prints is but a <q>rubbing</q> or impression taken by hand from wood blocks. The artist having drawn the design with the point of a brush in outline upon thin paper, it was handed over to the engraver, who began his part of the work by pasting the design face downward upon a flat block of wood, usually cherry, sawn plankwise as in the case of the blocks used by European wood-engravers in the time of D&uuml;rer. The paper was then scraped at the back until the design showed through distinctly in every part. Next, the wood was carefully cut away, leaving the lines in relief, care being taken to preserve faithfully every feature of the brush-strokes with which the drawing was executed. A number of impressions were then taken in Chinese ink from this <q>key block</q> and handed to the artist to fill in with colour. This ingenious plan, which is manifestly an outgrowth of the early custom of colouring the ink prints (sumi-y&eacute;) by hand, and which perhaps would never have been thought of had not the colour itself been an afterthought, enabled the artist to try many experiments in colour arrangement with a minimum amount of labour. The colour scheme and ornamentation of the surfaces having been determined, the
+<pb n="18" />
+engraver made as many subsidiary blocks<note place="foot">
+<p>
+Frequently a colour-block was made to serve for two colours printed at a single impression. This was possible only when certain parts could readily be charged with one pigment, and other parts with another, without much likelihood of mistake or interference. Resulting mistakes, however, were not uncommon.
+</p>
+</note> as were required, the parts meant to take the colour being left raised and the rest cut away. Accurate register was secured by the simplest of devices. A right-angled mark engraved at the lower right-hand corner of the original block, and a straight mark in exact line with its lower arm at the left, were repeated upon each subsequent block, and, in printing, the sheets were laid down so that their lower and right-hand edges corresponded with the marks so made. The defective register which may be observed in many prints was sometimes caused by unequal shrinking or swelling of the blocks. In consequence of this, late impressions are often inferior to the early ones, even though printed with the same care, and from blocks that had worn very little. The alignment will usually be found to be exact upon one side of the print, but to get further out of register as the other side is approached.
+</p>
+<p>
+The printing was done on moist paper with Chinese ink and colour applied to the blocks with flat brushes. A little rice paste was usually mixed with the pigments to keep them from running and to increase their brightness. Sometimes dry rice flour was dusted over the blocks after they were charged. To this method of charging the blocks much of the beauty of the result may be attributed. The colour could be modified, graded, or changed at will, the blocks covered entirely or partially. Hard, mechanical accuracy was avoided. Impressions differed even when the printer's aim was uniformity. Sometimes, in inking the <q>key block,</q> which was usually the last impressed, some of the lines would fail to receive the pigment, or would be overcharged. This was especially liable to happen when the blocks were worn and the edges of the lines became rounded. A little more or a little less pigment sometimes made a decided difference in the tone of the print, and, it may be noted, has not infrequently determined the nature and the extent of the discolouration wrought by time.
+</p>
+
+<figure url="images/cat071.jpg" rend="w90; page-float: 'ht'">
+<index index="fig" />
+<head>HARUNOBU.  The Sleeping Elder Sister.</head>
+<figDesc>HARUNOBU.  The Sleeping Elder Sister.</figDesc>
+</figure>
+
+<p>
+In printing, a sheet of paper was laid upon the block and the printer rubbed off the impression, using for the purpose a kind of pad called
+<pb n="19" />
+a <emph>baren.</emph> This was applied to the back of the paper and manipulated with a circular movement of the hand. By varying the dampness of the paper and the degree of pressure the colour could be forced deep into the paper, or left upon the outer fibres only, so that the whiteness of those below the surface would shine through, giving the peculiar effect of light which is seen at its best in some of the surimono (prints designed for distribution at New Year's or other particular occasions) by Hokusai and his contemporaries. Uninked blocks were used for embossing portions of the designs. The skill of the printer was a large factor in producing the best results. Even the brilliancy of the colour resulted largely from his manipulation of the pigments and various little tricks in their application. The first impressions were not the best, some forty or fifty having to be pulled before the block would take the colour properly. Many kinds of paper were used. For the best of the old prints it was thick, spongy in texture, and of an almost ivory tone. The finest specimens were printed under the direct personal supervision of the artists who designed them. Every detail was looked after with the utmost care. No pains were spared in mixing the tints, in charging the blocks, in laying on the paper so as to get the best possible impressions. Experiments were often tried by varying the colour schemes. Prints of important series, as, for example, Hokusai's famous <q>Thirty-six Views of Fuji,</q> are met with in widely divergent colourings.
+</p>
+<p>
+The pigments most frequently used were comparatively few, and different lots of the same pigment seem to have been far from uniform in hue. As to this and some other points upon which we should be glad to have light, no very certain information exists. We do not know how soon some of the colours began to fade. Internal evidence indicates that in some instances the change took place within a comparatively short time, as in the case of the lovely blue used by Harunobu and Shunsho̅ chiefly as a colour for sky and water. It appears to have been a compound tint formed of blue mixed with some other colour to modify its intensity. In the change which followed&mdash;possibly a chemical one&mdash;the blue disappeared in whole or in part, leaving in its stead a buff hue having peculiar depth and a soft, velvety texture. To our
+<pb n="20" />
+eyes the modified colour is often far more beautiful than the original, but the variation, it may safely be asserted, was not desired by the artist.
+</p>
+<p>
+The quality of the colour wrought by these changes explains why it is not possible to-day to reproduce the prints successfully. The printing process is still in use, and, as the plates in such publications as <q>Kokka</q> attest, very splendid results are still yielded by it. But some of the old pigments cannot now be obtained; and if they could be, we should still have to wait long years for time to mellow the prints made with them. Indigo can be had, but it is not the same indigo and its colour is not quite like the old, which was extracted from blue cloth imported from China. Beni can be made, but the secret of the blue added to it to produce the divine violet seen in many of the prints has been lost, as has that of the precious moss-green used by Utamaro. Many reproductions have been made during the last twenty-five years, and some of them are extremely clever; but the printing lacks depth, and when placed beside the old works they appear dull and lifeless.
+</p>
+<p>
+Colour-prints were made for many purposes. To some extent they were used as advertisements. Incidentally they served as fashion plates. Some were regularly published and sold in shops. Others were designed expressly upon orders from patrons, to whom the entire edition&mdash;sometimes a very small one&mdash;was delivered. The number struck from any block, or set of blocks, varied widely. Of the more popular prints many editions were printed, each one, as might be expected, inferior to those that preceded it. Not infrequently the Yedo publishers removed from their out-of-date blocks the marks showing their imprint, and sold them to publishers in Osaka and Nagoya, by whom poor and cheap editions were issued. Eiraku-ya of Nagoya, in particular, is said to have bought many old blocks, some of which were revamped in various ways before being reprinted.
+</p>
+
+<figure url="images/cat072.jpg" rend="w90; page-float: 'ht'">
+<index index="fig" />
+<head>HARUNOBU.  The Sleeping Elder Sister.</head>
+<figDesc>HARUNOBU.  The Sleeping Elder Sister.</figDesc>
+</figure>
+
+<p>
+In a number of instances, when blocks had worn out or had been accidentally destroyed in the fires by which Yedo was ravaged, the artists were called upon to make new drawings of the same subjects. Usually, in such cases, the second design differed very little from the first, save in such details as the patterns upon the garments of the
+<pb n="21" />
+figures and the styles of hair arrangement, which invariably reflected the current mode. Kiyonaga's <q>Iris Garden</q> and his well-known triptych <q>Ushiwaka Serenading Jorurihime</q> are notable examples of this practice. Two designs of each of these were issued, the intervals between the appearance of the first and second being, in each instance, about three or four years. For the later editions of many of the prints designed by Harunobu changes were made in the blocks, and the number was sometimes increased and sometimes decreased. After his death re-engravings of a number of his prints appear to have been made, as well as forged works in imitation of his style to which his name was attached.
+</p>
+<p>
+Most of the prints were sold at the time of publication for a few sen. The finer ones brought relatively higher prices, and such prints as the great triptychs and still larger compositions by Kiyonaga, Eishi, Toyokuni, Utamaro, and other leading artists could never have been very cheap. In general, however, the price was small and they were regarded as ephemeral things. Many were used to ornament the small screens that served to protect kitchen fires from the wind, and in this use were inevitably soiled and browned by smoke. Others, made into kakemono or mounted upon the sliding partitions of the houses, perished in the fires by which Japanese cities have been devastated; or, if in houses that chanced safely to run the gauntlet of fires, typhoons, cloudbursts, and other mishaps, their colours faded and their surfaces were rubbed until little more than dim outlines were left. These lost prints include a very large proportion of those that were most beautiful, and especially of those having inoffensive subjects.
+</p>
+<p>
+Fortunately, though the upper classes did not consider the prints as works of art, that did not prevent them from buying them for the entertainment they afforded. The samurai, though they considered it degrading to take part in the amusements of the lower classes and affected to despise the vulgarity of the theatre, sometimes attended the performances in disguise. And when they returned to their home provinces with their feudal lords after the six months of every year spent in the capital, they usually carried with them large quantities of prints. Country people visiting Yedo rarely returned without taking
+<pb n="22" />
+many of these cheap souvenirs of the city to distribute among their neighbours. Of course many were destroyed, but the Japanese have always been accustomed to take care of their possessions, and so many thousands of prints were neatly packed away in boxes and placed in the kuras, or fireproof storehouses. There they were often spoiled by mildew, the dread foe of the Japanese housewife, and eaten by insects. Those pasted in albums, as were many of the noted series by Hokusai and Hiroshige, fared better than the loose ones.
+</p>
+
+<figure url="images/cat080.jpg" rend="w30; page-float: 'ht'">
+<index index="fig" />
+<head>HARUNOBU.  Woman reading Letter.</head>
+<figDesc>HARUNOBU.  Woman reading Letter.</figDesc>
+</figure>
+
+<p>
+Thus it has come about that in spite of the enormous number printed, really choice specimens are very rare. Of many of the most important only two or three copies in good condition are known. Even at the time of their issue the number of those in what may be called the <q>proof</q> state could not have been large. The best printing, as has already been pointed out, was not only difficult and relatively expensive&mdash;perhaps prohibitively expensive in many instances except for a small number of impressions&mdash;but when the blocks had worn so that the edges of the finest lines had lost their sharpness, it was quite impossible. Collections of prints were rarely made. Literary men often saved such as were inscribed with odes of especial merit, or had recondite meanings that appealed to them, and to their care we are indebted for the preservation of the majority of those that have survived in perfect or nearly perfect condition.
+</p>
+<p>
+For those who have learned the elements of their language the charm of the prints is very great. I should perhaps say the charm of some of the prints is very great; for, as we learn what we ought to admire, we learn to discriminate, at first between the works of the different artists, then between different works by the same artist, and finally between different copies of the same work. The truth is that the prints are only in a remote sense to be spoken of as reproductions. Each impression is more or less an individual work of art; the difference in quality between one and another is often astonishingly wide.
+</p>
+<p>
+In conclusion it may be well to specify briefly some of the qualities in the prints that appeal to people of taste. In the first place, there is the compelling charm of colour. Equally notable are excellence of composition, grace, beauty, and sweep of line, distinctive character,
+<pb n="23" />
+daringness of conception, and perfect balance of both line and mass. Collectively the prints furnish the clearest exemplification of the basic principles of design that the world has to offer. Nowhere else can we find so much accomplished with simple means. Technically, also, they fulfil every requirement. Considered merely as wood-engravings, they are of the first order of excellence. Though the drawing is seldom scientifically accurate, it is, nevertheless, of exquisite refinement and subtlety. In short, the best prints are creative works of very high order which amply justify our admiration because of their intrinsic merit.
+</p>
+<pb n="24" />
+
+<figure url="images/cat086.jpg" rend="w20; page-float: 'ht'">
+<index index="fig" />
+<head>KORYUSAI.  Musume leaping from Temple Balcony.</head>
+<figDesc>KORYUSAI.  Musume leaping from Temple Balcony.</figDesc>
+</figure>
+
+
+</div>
+
+<pb n="25" />
+<div rend="page-break-before: right">
+<index index="toc" />
+<index index="pdf" />
+<head>CATALOGUE OF A LOAN COLLECTION OF JAPANESE COLOUR-PRINTS</head>
+<head>THE JAPAN SOCIETY OF NEW YORK</head>
+<head>FIFTH AVENUE BUILDING. APRIL 19 TO MAY 19, 1911</head>
+
+<pb n="26" />
+<pb n="27" />
+<div rend="page-break-before: right">
+<index index="toc" />
+<index index="pdf" />
+<head>INTRODUCTION</head>
+<p>
+The leading masters of the Ukiyo&eacute; school were a group of very great artists. The names of Kiyonaga, Harunobu, Okumura Masanobu, Utamaro, Hokusai, and Hiroshige belong in the category of those whose fame is world-wide.
+</p>
+
+<figure url="images/cat101.jpg" rend="w30; page-float: 'ht'">
+<index index="fig" />
+<head>SHUNSHO.  Woman in Red.</head>
+<figDesc>SHUNSHO.  Woman in Red.</figDesc>
+</figure>
+
+<p>
+The finest of the colour-prints designed by these men and their fellow-artists are masterpieces of rare distinction. This does not mean that all of their works should be so classed. The method by which the prints were produced enabled the artists to turn them out rapidly, and many were made that were trivial in character. They served almost as many purposes in their time as engravings, etchings, lithographs, and the photographic process reproductions do with us to-day. Naturally they varied widely in merit and in quality. Many have been preserved, but the important prints by the greater artists are unfortunately very rare; few of them have survived the vicissitudes of time, and fewer still in good condition.
+</p>
+<p>
+The inception of the Ukiyo&eacute; school dates back to the early years of
+the seventeenth century, when a painter named Iwasa Matahei, departing
+from the traditional subjects of the painters of the classic schools,
+made pictures of dancing-girls and scenes of every-day life. The first
+prints were made about 1660 by Hishikawa Moronobu and were in
+simple black outline. They were sometimes coloured by hand with a
+few touches of colour roughly laid on, probably by the publisher's
+assistants.
+</p>
+<p>
+In the early years of the seventeenth century a style of colouring known as <emph>tan-y&eacute;</emph> (from the predominant use of a red-lead pigment known as tan) came into vogue. A little later prints were sold with more elaborate hand-colouring. Lacquer was mixed with the pigments to give them brilliancy, and the prints were known as <emph>urushi-y&eacute;,</emph> or lacquer prints. In or about the year 1742 Okumura Masanobu began
+<pb n="28" />
+to make the first true colour-prints. For these he used only two colours, green and a soft red called <emph>beni,</emph> and the prints were known as <emph>beni-y&eacute;.</emph> For some years difficulties connected with the printing prevented the use of more than two colour-blocks, and not until 1764 was a method discovered which made it possible to use as many blocks as might be required. Suzuki Harunobu was the first artist to take advantage of the discovery. The prints designed by him during the next six years are among the finest works of the school. Under his guidance and that of Katsukawa Shunsho, the art of colour-printing was brought to perfection. Then followed a period when many prints of precious quality were produced. The culmination was reached during the seventeen hundred and eighties, when Torii Kiyonaga turned out his marvellous single sheets, diptychs, and triptychs.
+</p>
+<p>
+Many splendid prints were designed in the next decade. It was then that Eishi made his delightful triptychs, that Sharaku stirred the people of Yedo with his wonderful caricature portraits of popular actors, and that Utamaro gained wide fame by the products of his facile brush. It was, however, a period of decadence, and by the end of the century a considerable distance had been travelled upon the downward path.
+</p>
+<p>
+The prints made in the nineteenth century were, for the most part, coarse and gaudy, the chief exceptions being those designed by Hokusai and Hiroshige. These men, though classed as of the Ukiyo&eacute; school, in reality represent what may more properly be termed another <q>movement</q> growing out of, but distinct from, the Ukiyo&eacute; art that reached its apogee under Kiyonaga.
+</p>
+<p>
+While the present exhibition includes specimens of most of the different kinds of prints&mdash;some of them, more especially the earlier ones, of extreme rarity&mdash;historical completeness has not been attempted. The aim has been rather to show such prints of exceptional quality and beauty as are available in New York.
+</p>
+<signed>
+FREDERICK W. GOOKIN
+</signed>
+</div>
+<pb n="29" />
+<pb n="30" />
+
+<pb n="31" />
+<div rend="page-break-before: right">
+<index index="toc" />
+<index index="pdf" />
+<head>CATALOGUE</head>
+
+<div>
+<head type="sub">
+HISHIKAWA MORONOBU
+</head>
+<p>
+Moronobu, who was born probably in 1625 and died in 1695, was the first important Japanese artist to design prints. As a painter he is highly renowned. He illustrated many books and made a considerable number of single-sheet prints, which were all either in plain black or coloured by hand. His works are now very rare.<note place="foot">
+<p>
+All the prints described in this catalogue as lent by Estate of Francis Lathrop, Deceased, have been acquired by the Metropolitan Museum of Art.
+</p>
+</note>
+</p>
+<div>
+<head type="sub2">LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED</head>
+<p></p>
+<list>
+<item n="1"> <emph>Large sumi-y&eacute; (ink print).</emph> Matsukaze-Murasame; a nobleman and two ladies at the seashore watching two women dipping salt water in buckets.
+</item>
+<item n="2">
+<emph>Sumi-y&eacute;.</emph> A man and a woman seated on the floor of a room.
+</item>
+<item n="3">
+<emph>Sumi-y&eacute;.</emph> Woman reading from a book to a man reclining on the floor by her side. Near them a maid-servant and utensils containing refreshments.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY A COLLECTOR</head>
+<p></p>
+<list>
+<item n="4">
+<emph>Sumi-y&eacute;.</emph> Scene in the Yoshiwara.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<div>
+<head type="sub">TORII KIYONOBU</head>
+<p>
+Founder of the Torii line and one of the leading artists of the Ukiyo&eacute; school. Inventor of the tan-y&eacute;, or prints coloured by hand with red lead (Japanese <emph>tan)</emph>. He was born in 1664 and died on August 22, 1729. His style of drawing was characterized by great boldness and vigour.
+</p>
+<div>
+<head type="sub2">LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED</head>
+<list>
+<item n="5">
+<emph>Large tan-y&eacute;.</emph> The actor Dekijima Hanya as a woman seated upon a sakura tree in bloom.
+</item>
+<pb n="32" />
+
+<item n="6">
+<emph>Small tan-y&eacute;.</emph> The actor Ikushima Daikichi as a woman holding two small dogs.
+</item>
+<item n="7">
+<emph>Small tan-y&eacute;.</emph> The actor Kamimura Kichisaburo as a dancing-girl.
+</item>
+<item n="8">
+<emph>Large hand-coloured print.</emph> The actor Ikushima Daikichi as an oiran on parade, followed by O̅tani Hiroji as a servant holding an umbrella over her.
+</item>
+<item n="9">
+<emph>Tall hand-coloured print.</emph> The actor Bando Hikosaburo.
+</item>
+</list>
+</div>
+
+<div>
+<head type="sub2">LENT BY SAMUEL ISHAM.</head>
+
+<list>
+<item n="10">
+<emph>Urushi-y&eacute;.</emph> Ichikawa Monnosuke as a strolling player carrying a monkey on his back.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY HOWARD MANSFIELD.</head>
+<list>
+<item n="11">
+<emph>Urushi-y&eacute;.</emph> The elopement of Yaoya Hanbei and O-Chiya.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY A COLLECTOR.</head>
+
+<list>
+<item n="12">
+<emph>Urushi-y&eacute;.</emph> A dancing-girl.
+</item>
+</list>
+</div>
+</div>
+</div>
+
+<div>
+<head type="sub">TORII KIYOMASU</head>
+<p>
+Eldest son of Kiyonobu, whom he succeeded as the head of the Torii line. His work closely resembles that of his father. He was born about 1685 and died on January 2, 1764.
+</p>
+<div>
+<head type="sub2">LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.</head>
+
+<figure url="images/cat133.jpg" rend="w90; page-float: 'ht'">
+<index index="fig" />
+<head>KIYONAGA.  Holiday Group at Gotenyama.</head>
+<figDesc>KIYONAGA.  Holiday Group at Gotenyama.</figDesc>
+</figure>
+
+<list>
+<item n="13">
+<emph>Large sumi-y&eacute;.</emph> An actors' boating party on the Sumidagawa.
+</item>
+<item n="14">
+<emph>Large tan-y&eacute;.</emph> The actors Yoshizawa Ayame and Kanto Koroku.
+</item>
+<item n="15">
+<emph>Large tan-y&eacute;.</emph> The actors Kanto Koroku and Ikushima Daikichi.
+</item>
+<item n="16">
+<emph>Large beni-y&eacute;.</emph> Ichikawa Danju̅ro̅ as an enraged warrior.
+</item>
+<item n="17">
+<emph>Beni-y&eacute;.</emph> Onoe Kikugoro̅ in a female r&ocirc;le.
+</item>
+<item n="18">
+<emph>Beni-y&eacute;.</emph> Scene from a drama. The actors Tomazawa Saijiro̅ (on horseback), O̅tani Hiroji, and Segawa Kikunojo̅. The beni has turned to a low-toned yellow.
+</item>
+<pb n="33" />
+<item n="19">
+<emph>Urushi-y&eacute;.</emph> Scene from a drama. O̅tani Oniji (on horseback) threatening Sannogawa Ichimatsu in the r&ocirc;le of a woman who has seized his bridle rein.
+</item>
+<item n="20">
+<emph>Beni-y&eacute;.</emph> Scene from a drama. Sawamura Soju̅ro̅ as Sasaki no Saburo̅ and Nakamura Tomiju̅ro̅ as Mago no Koroku.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">FURUYAMA MOROMASA</head>
+<p>
+Pupil, and perhaps the son, of Moronobu. He devoted himself chiefly to painting, but designed a few prints, most of which are ukiy&eacute;, or perspective pictures, in the style of Okumura Masanobu.
+</p>
+<div>
+<head type="sub2">LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED</head>
+<list>
+<item n="21">
+<emph>Large hand-coloured ukiy&eacute;, or perspective print.</emph> A game of ken in a room in a nobleman's house.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">OKUMURA MASANOBU</head>
+
+<p>
+One of the most eminent of the Ukiyo&eacute; artists. His drawings were greatly admired for their rare combination of force and refinement, and he exercised wide influence over his contemporaries and successors to the end of the eighteenth century. He was the first artist to use blocks from which prints were coloured in flat tints. These were printed in the red known as beni, green, and black, and were known as beni-y&eacute;. He was also the first artist to make the tall, narrow pillar prints (ha-shira-y&eacute;), and was the inventor of the perspective prints which he called <emph>ukiy&eacute;.</emph> His true name was Okumura Genpachi, and he was commonly known as honya (bookseller) Genpachi, from the fact that he was the proprietor of a wholesale and retail book and print shop at the sign of the <q>red gourd</q> in Tori-shio cho̅, Yedo.
+</p>
+<div>
+<head type="sub2">LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED</head>
+
+<list>
+<item n="22">
+<emph>Large sumi-y&eacute;.</emph> Woman seated by a writing-table, reading a book.
+</item>
+<item n="23">
+<emph>Urushi-y&eacute;.</emph> Bando Hikosaburo as a warrior resisting the opening of a castle door.
+</item>
+<item n="24">
+<emph>Tall beni-y&eacute;.</emph> A geisha playing upon a samisen.
+</item>
+<pb n="34" />
+
+<item n="25">
+<emph>Large sumi-y&eacute;.</emph> A woman with a pet cat watching a man dip water from a chozubachi.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY A COLLECTOR</head>
+<list>
+<item n="26">
+<emph>Large beni-y&eacute;.</emph> Segawa Kikunojo̅ as an oiran lighting her pipe at a hibachi in the hands of her kamuro, and Sannogawa Ichimatsu as a man holding an umbrella over her.
+</item>
+<item n="27">
+<emph>Undivided beni-y&eacute; triptych.</emph> Street scene. A boy kneeling to put on a woman's geta; a man playing upon a shakuhachi; and another man carrying an umbrella.
+</item>
+<item n="28">
+<emph>Undivided triptych.</emph> Three women carrying umbrellas.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">OKUMURA TOSHINOBU</head>
+
+<p>
+Toshinobu, the son of Masanobu, was an artist of decided talent who died young. His known works, which resemble those of his father, are all urushi-y&eacute;, and were designed about 1730-1736.
+</p>
+<div>
+<head type="sub2">LENT BY A COLLECTOR</head>
+<list>
+<item n="29">
+Ichimura Uzaemon as a dancing-girl.
+</item>
+<item n="30">
+Woman dressing.
+</item>
+<item n="31">
+Sanjo Kentaro̅ in a female r&ocirc;le.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">TSUNEKAWA SHIGENOBU</head>
+<p>
+An early Ukiyo&eacute; artist of whom little is known. His prints are extremely rare.
+</p>
+<div>
+<head type="sub2">LENT BY A COLLECTOR</head>
+<list>
+<item n="32">
+<emph>Urushi-y&eacute;.</emph> Arashi Wakano in the r&ocirc;le of Shida no Kotaro̅.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">NISHIMURA SHIGENAGA</head>
+
+<p>
+Son of Shigenobu. Born in 1697 and died in 1756. An artist of ability who exercised marked influence upon the development of the school. His prints are very uneven in quality.
+</p>
+<pb n="35" />
+<div>
+<head type="sub2">LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED</head>
+<list>
+<item n="33">
+<emph>Tall hand-coloured print.</emph> The actor Sannogawa Ichimatsu as a woman holding a folded letter.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY A COLLECTOR</head>
+<list>
+<item n="34">
+<emph>Urushi-y&eacute;.</emph> Segawa Kikunojo as a woman holding a warrior's helmet.
+</item>
+<item n="35">
+<emph>Beni-y&eacute;.</emph> Procession of the Corean ambassadors.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">ISHIKAWA TOYONOBU</head>
+<p>
+One of the most important of the Ukiyo&eacute; masters. Born in 1711, died in 1785. Pupil of Shigenaga, and probably of Masanobu whose style he closely assimilated.
+</p>
+<div>
+<head type="sub2">LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED</head>
+<list>
+<item n="36">
+<emph>Large beni-y&eacute;.</emph> The actors Segawa Kikunojo and Sannogawa Ichimatsu.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY SAMUEL ISHAM.</head>
+<list>
+<item n="37">
+<emph>Wide print from three colour-blocks.</emph> Women and children at the seashore.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY A COLLECTOR.</head>
+<list>
+<item n="38">
+<emph>Tall hand-coloured print.</emph> Segawa Kikunojo̅ as a woman reading a letter.
+</item>
+<item n="39">
+<emph>Two sheets from a beni-y&eacute; triptych.</emph> Musume carrying umbrellas.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY HAMILTON EASTER FIELD.</head>
+<list>
+<item n="40">
+<emph>Beni-y&eacute;.</emph> Mother and son.
+</item>
+<item n="41">
+<emph>Print from three colour-blocks.</emph> Boys rolling a large snowball.
+</item>
+<item n="42">
+<emph>Print from three colour-blocks.</emph> Man struggling with a refractory umbrella; a woman looking on.
+</item>
+</list>
+</div>
+</div>
+
+<pb n="36" />
+
+<div>
+<head type="sub">TORII KIYOHIRO</head>
+
+<figure url="images/cat138.jpg" rend="w90; page-float: 'ht'">
+<index index="fig" />
+<head>KIYONAGA. Picnic Party.</head>
+<figDesc>KIYONAGA. Picnic Party.</figDesc>
+</figure>
+
+<p>
+Pupil of Kiyomasu. His known works are exclusively beni-y&eacute;, executed from about 1745 to about 1755.
+</p>
+<div>
+<head type="sub2">LENT BY HAMILTON EASTER FIELD.</head>
+<list>
+<item n="43">
+<emph>Beni-y&eacute;.</emph> Nakamura Hatsugoro̅ as Sakura no Suk&eacute;.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">TORII SHIRO</head>
+<p>
+Known as Kiyonobu the second, all of his prints being signed Torii Kiyonobu. He was the eldest son of Kiyomasu. Worked from about 1740 to about 1755, when it is probable that his death occurred. Some of the most charming of the beni-y&eacute; prints are from his hand.
+</p>
+<div>
+<head type="sub2">LENT BY HOWARD MANSFIELD.</head>
+<list>
+<item n="44">
+<emph>Beni-y&eacute;.</emph> Yamamoto Iwanojo̅ as a woman dancing by a fox-trap in a rice field under a blossoming cherry tree.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub2">TORII KIYOMITSU</head>
+<p>
+Second son of Kiyomasu, whom he succeeded as the head of the Torii line. An artist of distinction. Was the first to add a third colour-block to the original two. He was born in 1735 and died in 1785. After 1765 he designed only a few prints, and appears to have designed none later than about 1768.
+</p>
+<div>
+<head type="sub2">LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED</head>
+<list>
+<item n="45">
+<emph>Wide print from three colour-blocks.</emph> The No̅ performance of <q>Musume Do̅jo̅ji.</q>
+</item>
+<item n="46">
+<emph>Wide print from three colour-blocks.</emph> Daimyo procession game by women and children.
+</item>
+<item n="47">
+<emph>Print from three colour-blocks.</emph> Iwai Hanshiro̅ as a woman reading a letter while seated upon a carabao.
+</item>
+<pb n="37" />
+<item n="48">
+<emph>Beni-y&eacute;.</emph> Scene from a drama. Ichimura Kamezo̅ (standing) as Wakemi Goro̅ and Nakamura Tomiju̅ro̅ as Akoya.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">SUZUKI HARUNOBU</head>
+<p>
+The central figure in Ukiyo&eacute; and the eminent master under whose hand the art of colour-printing was brought to perfection in the sixties of the eighteenth century. He was a draughtsman of extreme elegance and power, and his works have a charm that is peculiarly their own. He died on July 7, 1770, when, says Shiba Kokan in his book <q>Kokan Kokai-ki,</q> he <q>had hardly passed his fortieth year.</q>
+</p>
+<div>
+<head type="sub2">LENT BY SAMUAL ISHAM.</head>
+<list>
+<item n="49">
+Girl attendant in an archery gallery gathering up arrows. One sheet of a diptych.
+</item>
+<item n="50">
+A young woman showing a caged bird to a young man seated before her, and surreptitiously taking a love letter from him.
+</item>
+<item n="51">
+A vendor of fan mounts stopping to talk to a young woman standing in front of a shop.
+</item>
+<item n="52">
+<emph>Hashira-y&eacute;.</emph> Woman writing a love letter.
+</item>
+<item n="53">
+<emph>Hashira-y&eacute;.</emph> Woman holding a pet dog.
+</item>
+<item n="54">
+Burlesque scene. Girls carrying Daikoku (the genius of wealth&mdash;one of the <q>Seven Fortune-beings</q>).
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY HOWARD MANSFIELD.</head>
+<list>
+<item n="55">
+Girls carrying Daikoku. A later impression with different colouring.
+</item>
+<item n="56">
+An archer and two girls near a screen. Calendar for 1765.
+</item>
+<item n="57">
+Young woman before a torii, carrying a hammer and nails with which to perform an incantation.
+</item>
+<item n="58">
+Two young women on their way to the public bath-house through a storm of snow and rain.
+</item>
+<item n="59">
+Two girls on a terrace near a torii, in the time of the cherry-blossoming.
+</item>
+
+<pb n="38" />
+
+<item n="60">
+Two girls gathering mume flowers from a tree overhanging a wall.
+</item>
+<item n="61">
+Woman reading a letter by the light of an andon (portable lamp with wind screen) which another woman is trimming.
+</item>
+<item n="62">
+Geisha and a young girl standing on the bank near the rapids of the Tamagawa.
+</item>
+<item n="63">
+Young woman seated in a window, conversing with another young woman seated on the floor and holding a picture-book.
+</item>
+<item n="64">
+Young man removing snow from the geta of a young woman.
+</item>
+<item n="65">
+Woman lying upon the floor of a room, reading a book, and another woman standing beside her, holding a pipe.
+</item>
+<item n="66">
+Young woman seated on a veranda after her bath, having her back massaged by her maid.
+</item>
+<item n="67">
+Young man talking to a girl through the bars of a window.
+</item>
+<item n="68">
+A burlesque apparition of Fugen. Instead of the Buddhist divinity, a young woman seated on an elephant appears on a cloud before a priest kneeling in prayer.
+</item>
+<item n="69">
+Lovers walking in the snow under an umbrella. One of Harunobu's most distinguished prints.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.</head>
+<list>
+<item n="70">
+The Sleeping Elder Sister. First state. Early impression signed by the printer, Kyosen.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY HAMILTON EASTER FIELD.</head>
+<list>
+<item n="71">
+The Sleeping Elder Sister. Second state. Changes made in the blocks and colouring.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY A COLLECTOR.</head>
+<list>
+<item n="72">
+The Sleeping Elder Sister. Still later impression. Colouring changed again, and the number of blocks increased from ten to thirteen.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY HAMILTON EASTER FIELD.</head>
+<list>
+<item n="73">
+The Hole in the Wall.
+</item>
+<item n="74">
+Mother holding her infant son.
+</item>
+
+<pb n="39" />
+
+<item n="75">
+At the entrance gate.
+</item>
+<item n="76">
+Mother taking her infant son from another woman and handing her a letter.
+</item>
+<item n="77">
+Lovers in a palace.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY A COLLECTOR.</head>
+<list>
+<item n="78">
+Musume walking up a flight of steps leading to a temple.
+</item>
+<item n="79">
+Lovers playing battledore and shuttlecock; the young man climbing a ladder to disengage the shuttlecock caught upon the branch of a mume tree.
+</item>
+<item n="80">
+<emph>Hashira-y&eacute;.</emph> Woman in night attire standing by her bedside reading a letter.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">SHIBA KOKAN</head>
+<p>
+An artist who is best known as a clever imitator of his master, Harunobu, whose signature he forged upon a number of prints. He also used the <q>go̅,</q> or studio name, Harushige in signing prints in the Harunobu manner. In later years he painted pictures in semi-European style, and made copper-plate engravings which were coloured by hand. He was born in 1747 and died in 1818.
+</p>
+<div>
+<head type="sub2">LENT BY SAMUEL ISHAM.</head>
+<list>
+<item n="81">
+The courtyard of a house in the Yoshiwara. A woman reading a letter and a girl attendant standing beside her holding a tray. Signed Harunobu.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">SHOSHOKEN</head>
+<p>
+This is the pseudonym of an artist of distinction whose identity has not been determined. His known works are calendar prints for 1765.
+</p>
+<div>
+<head type="sub2">LENT BY SAMUEL ISHAM.</head>
+<list>
+<item n="82">
+Stout lady crossing a room in a palace supported by two attendants. The use of gold leaf is notable.
+</item>
+</list>
+</div>
+</div>
+
+<pb n="40" />
+<div>
+<head type="sub">KITAO SHIGEMASA</head>
+<p>
+One of the noted artists of the school. Was famous for his skill as a calligrapher, being reputed to have no superior in his day in either of the <q>three capitals,</q> Yedo, Kyoto, or Osaka. His prints, which are rare, are generally of much distinction. He was born in 1740, and died in the second month of Bunsei 3 (February or March, 1820).
+</p>
+<div>
+<head type="sub2">LENT BY HOWARD MANSFIELD.</head>
+<list>
+<item n="83">
+Children's puppet show.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.</head>
+<list>
+<item n="84">
+<emph>Beni-y&eacute;.</emph> Segawa Kikunojo̅ and Ichimura Uzaemon as Izumo no Okuni and Nagoya Sanza, two komuso, playing upon shaku-hachi.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY A COLLECTOR.</head>
+<list>
+<item n="85">
+Two geishas.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">ISODA KORYUSAI</head>
+
+<p>
+The most important pupil of Harunobu, whose style he followed closely in his early works. Later he developed a manner of his own. As a designer of pillar prints and of prints of birds, he was especially successful. He was a samurai and associated with samurai of the superior class. The director of the mint was one of his most intimate friends and patrons. About 1781 he gave up print-designing, devoted himself to painting, and was given the honorary title of Hokyo. The dates of his birth and death are not known.
+</p>
+<div>
+<head type="sub2">LENT BY SAMUEL ISHAM.</head>
+<list>
+<item n="86">
+<emph>Hashira-y&eacute;.</emph> Musume leaping from the balcony of Kiyomidzu temple with an umbrella as a parachute.
+</item>
+<item n="87">
+Woman standing on the engawa of a house, admiring snow-laden bamboo branches; back of her, a girl and a young boy looking through a window.
+</item>
+
+<pb n="41" />
+
+<item n="88">
+A Yoshiwara beauty arranging flowers; two girl attendants looking on.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY A COLLECTOR.</head>
+<list>
+<item n="89">
+<emph>Hashira-y&eacute;.</emph> Musume carrying her infant brother.
+</item>
+<item n="90">
+<emph>Hashira-y&eacute;.</emph> Young woman poling a boat in a lily-pond.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.</head>
+<list>
+<item n="91">
+A Yoshiwara beauty on parade, attended by a girl and a boy.
+</item>
+<item n="92">
+<emph>Hashira-y&eacute;.</emph> The bijin Juro̅jin. A young woman is represented in place of the long-life being whose attributes are a crane and a tortoise.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">KATSUKAWA SHUNSHO</head>
+<p>
+A contemporary of Harunobu and one of the greatest of the Ukiyo&eacute; artists. He was highly renowned in his day and had many pupils who became famous. Most of his prints were portraits of actors in character. He was born in 1726 and died on January 22, 1793.
+</p>
+<div>
+<head type="sub2">LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.</head>
+<list>
+<item n="93">
+Segawa Kikunojo as a woman holding a red fan.
+</item>
+<item n="94">
+Two actors in character. The seated figure is Danju̅ro̅, the leading <q>star</q> of the Yedo stage.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY SAMUEL ISHAM.</head>
+<list>
+<item n="95">
+Actor in a female r&ocirc;le.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY HOWARD MANSFIELD.</head>
+<list>
+<item n="96">
+Iwai Hanshiro̅ as a woman standing and holding a fan behind her.
+</item>
+<item n="97">
+Yamashita Kinsaku in a female r&ocirc;le.
+</item>
+<item n="98">
+Actor of the Ichikawa line in the r&ocirc;le of Shibaraku at the Ichimura theatre.
+</item>
+
+<pb n="42" />
+
+<item n="99">
+O̅tani Hiroji as an Amazake vendor.
+</item>
+<item n="100">
+<emph>Hashira-y&eacute;.</emph> Nobleman carrying a court lady on his back. Probably a parody upon the suicide of Ohan and Choyaemon.
+</item>
+<item n="101">
+<emph>Wide hashira-y&eacute;.</emph> The Woman in Red.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">IPPITSUSAI BUNCHO̅</head>
+
+<p>
+An artist of samurai rank who, for a few years, designed actor prints
+in the manner of Shunsho, which have great distinction of style and
+colour. He was celebrated also as a writer of comic odes. He died on
+May 18, 1796.
+</p>
+<div>
+<head type="sub2">LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.</head>
+
+<figure url="images/cat102.jpg" rend="w60; page-float: 'ht'">
+<index index="fig" />
+<head>BUNCHO.  Actor as Woman talking to Men.</head>
+<figDesc>BUNCHO.  Actor as Woman talking to Men.</figDesc>
+</figure>
+
+<list>
+<item n="102">
+Bando Hikosaburo as a woman of the Yoshiwara talking to a group of men through the mis&eacute;.
+</item>
+<item n="103">
+Nakamura Tomiju̅ro̅ as Josan no Miya.
+</item>
+</list>
+
+<figure url="images/cat103.jpg" rend="w90; page-float: 'ht'">
+<index index="fig" />
+<head>KIYONAGA. Man and two Women approaching Temple.</head>
+<figDesc>KIYONAGA. Man and two Women approaching Temple.</figDesc>
+</figure>
+
+</div>
+<div>
+<head type="sub2">LENT BY SAMUEL ISHAM.</head>
+<list>
+<item n="104">
+A Yoshiwara beauty accompanied by her kamuro (girl attendant)
+bearing a cage of fireflies.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY HOWARD MANSFIELD.</head>
+<list>
+<item n="105">
+Ichikawa Korazo̅ as a man carrying an actor's dressing-case.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY HAMILTON EASTER FIELD.</head>
+<list>
+<item n="106">
+Scene from a drama. Yamashita Kinsaku as a woman holding a roll of paper, conversing with Ichikawa Komazo̅, who holds a letter in his hand.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">KATSUKAWA SHUNKO̅</head>
+<p>
+Pupil of Shunsho and generally regarded as his most talented follower. His career as a print-designer was cut short by a stroke of paralysis when he was in his forty-fifth or forty-sixth year, but he lived for about
+<pb n="43" />
+forty years thereafter as a recluse at Zenfukuji temple, Azabu, Yedo, where he died in 1827.
+</p>
+<div>
+<head type="sub2">LENT BY SAMUEL ISHAM.</head>
+<list>
+<item n="107">
+Iwai Hanshiro in a female r&ocirc;le.
+</item>
+<item n="108">
+The actor Ichikawa Monnosuke.
+</item>
+<item n="109">
+Nakamura Tomijūro̅ as a tsuzumi player.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY HOWARD MANSFIELD.</head>
+<list>
+<item n="110">
+Arashi Tatsuzo as a woman flower-vendor.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">KATSUKAWA SHUNYEI</head>
+<p>
+Pupil of Shunsho̅ and an artist of ability. At first, for a short time, he called himself Shunjo̅. He was born in 1767, and died on December 13, 1819.
+</p>
+<div>
+<head type="sub2">LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.</head>
+<list>
+<item n="111">
+A bijin.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY HOWARD MANSFIELD.</head>
+<list>
+<item n="112">
+Ichikawa Monnosuke in a female r&ocirc;le.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY SAMUEL ISHAM.</head>
+<list>
+<item n="113">
+Scene from the tenth act of <q>Chushingura.</q>
+</item>
+<item n="114">
+Ichikawa Komazo̅.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">UTAGAWA TOYOHARU</head>
+<p>
+Pupil of Toyonobu. As a painter his reputation is justly high. He did not design many prints. He was born in 1735 and died on March 3, 1814.
+</p>
+<div>
+<head type="sub2">LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.</head>
+<list>
+<item n="114">
+Cock, hen and chickens.
+</item>
+</list>
+</div>
+</div>
+<pb n="44" />
+
+<div>
+<head type="sub">TORII KIYONAGA</head>
+
+<p>
+Everything considered, the greatest artist of the Ukiyo&eacute; school and the culminating figure in its forward movement. He was born in 1742 and died in 1815. His finest prints were designed between 1780 and 1790.
+</p>
+<div>
+<head type="sub2">LENT BY SAMUEL ISHAM.</head>
+<list>
+<item n="116">
+The Writing-lesson.
+</item>
+<item n="117">
+Fair travellers resting on a bench by the roadside.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.</head>
+<list>
+<item n="118">
+Two geishas entertaining a young man.
+</item>
+<item n="119">
+Court ladies on the engawa of a palace.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY HOWARD MANSFIELD.</head>
+<list>
+<item n="120">
+Three girls going to the baths at the hot springs near Miyanoshita.
+</item>
+<item n="121">
+Man and two women masquerading in komuso̅ attire.
+</item>
+<item n="122">
+Group of three women and a boy.
+</item>
+<item n="123">
+Two women standing beside a seated geisha who is playing on a samisen.
+</item>
+<item n="124">
+Yoshiwara beauty attended by two women (shinzo) and two girls (kamuro).
+</item>
+<item n="125">
+Two young women and a servant on the balcony of an inn.
+</item>
+<item n="126">
+Family group on their way to a temple for the naming ceremony of the boy who is carried on the shoulders of an attendant.
+</item>
+<item n="127">
+An actor and two women examining utensils for the tea ceremony.
+</item>
+<item n="128">
+Women and children promenading in summer costume.
+</item>
+<item n="129">
+Scene from a drama. Two actors playing the game of <q>go</q> with mume blossoms, and a third actor as a woman in the r&ocirc;le of an umpire standing between them.
+</item>
+<pb n="45" />
+<item n="130">
+Two young women walking under an umbrella and followed by a servant.
+</item>
+<item n="131">
+Man in a black haori approaching a temple through the snow, accompanied by two women.
+</item>
+<item n="132">
+<emph>Diptych.</emph> Group of women under a cherry tree.
+</item>
+<item n="133">
+<emph>Diptych.</emph> Holiday group under the cherry trees at Gotenyama. One of a series of twelve diptychs that are among Kiyonaga's finest works.
+</item>
+<item n="134">
+Boating party under Ryogoku bridge. Two sheets of a triptych.
+</item>
+<item n="135">
+<emph>Triptych.</emph> The Peony (botan) Show.
+</item>
+<item n="136">
+<emph>Triptych.</emph> Women landing from a pleasure boat.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY A COLLECTOR.</head>
+<list>
+<item n="137">
+<emph>Hashira-y&eacute;.</emph> Woman in winter costume.
+</item>
+<item n="138">
+<emph>Triptych.</emph> A picnic party under the cherry trees.
+</item>
+<item n="139">
+Group of women on the bank of the Sumida river.
+</item>
+<item n="140">
+Group of women near a temple.
+</item>
+<item n="141">
+Three women at a public bath-house.
+</item>
+</list>
+
+
+</div>
+</div>
+
+<div>
+<head type="sub">KATSUKAWA SHUNCHO</head>
+<p>
+Pupil of Shunsho̅. Followed the style of Torii Kiyonaga. His works closely resemble those of the Torii master, but have less force. Worked from about 1775 to about 1795. In some of his later prints he imitated Eishi's prints in the Utamaro manner. The dates of his birth and death are not known.
+</p>
+<div>
+<head type="sub2">LENT BY SAMUAL ISHAM.</head>
+<list>
+<item n="142">
+One sheet of a triptych showing a nobleman's mansion from the garden, with the people engaged in various occupations.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY HOWARD MANSFIELD.</head>
+<list>
+<item n="143">
+Women watching girls bouncing balls.
+</item>
+<item n="144">
+<emph>Diptych.</emph> Group at the entrance to a temple.
+</item>
+<item n="145">
+Three women in a temple compound.
+</item>
+</list>
+
+<figure url="images/cat143.jpg" rend="w90; page-float: 'ht'">
+<index index="fig" />
+<head>SHUNCHO.  Women watching Girls bouncing Balls.</head>
+<figDesc>SHUNCHO.  Women watching Girls bouncing Balls.</figDesc>
+</figure>
+
+</div>
+<div>
+<pb n="46" />
+<head type="sub2">LENT BY HAMILTON EASTER FIELD.</head>
+<list>
+<item n="146">
+Group of girls at a tea booth by the seashore.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY A COLLECTOR.</head>
+<list>
+<item n="147">
+A picnic party. Two sheets of a triptych.
+</item>
+<item n="148">
+Women picking wild flowers under a cherry tree in bloom.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">HOSODA EISHI</head>
+<p>
+One of the foremost artists of the school. He was a samurai of high rank, and a pupil of Kano Eisen. For three years before he took to Ukiyo&eacute; he held an official post in the household of the shogun Iyeharu. Eishi was a master of all the resources of the art of colour-printing and his prints are characterized by great elegance and refinement. He worked from about 1782 to 1800, when he gave up print-designing. He died in 1829.
+</p>
+<div>
+<head type="sub2">LENT BY SAMUAL ISHAM.</head>
+<list>
+<item n="149">
+<emph>Triptych.</emph> Eight women and a man playing the game of <q>Catch the fox.</q>
+</item>
+<item n="150">
+Group of Yoshiwara women and attendants.
+</item>
+<item n="151">
+Someyama and her kamuro playing with a pet dog.
+</item>
+<item n="152">
+Yoshiwara women admiring a branch of mume tree with unopened flower buds.
+</item>
+<item n="153">
+<emph>Triptych.</emph> F&ecirc;te in a nobleman's palace. Ladies composing poems.
+</item>
+</list>
+
+<figure url="images/cat153.jpg" rend="w60; page-float: 'ht'">
+<index index="fig" />
+<head>EISHI. F&ecirc;te in a nobleman's palace.</head>
+<figDesc>EISHI. F&ecirc;te in a nobleman's palace.</figDesc>
+</figure>
+
+</div>
+<div>
+<head type="sub2">LENT BY MRS. WILLIAM BENJAMIN WOOD.</head>
+<list>
+<item n="154">
+Another copy of the foregoing triptych. Shows how beautifully the purple changes by chemical decomposition.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY HOWARD MANSFIELD.</head>
+<list>
+<item n="155">
+Oiran and attendants on parade.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY A COLLECTOR.</head>
+<list>
+<item n="156">
+A Yoshiwara beauty. Ink proof of the key block.
+</item>
+<pb n="47" />
+<item n="157">
+Two women entering a room in the palace of Prince Genji, where a young girl is seated playing with a kitten.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">YEISHOSAI CHOKI</head>
+<p>
+An artist of ability, though not quite of the first rank. His prints are rare. He worked at first in the style of Kiyonaga. Later he imitated Utamaro, and changed his <q>go̅,</q> or studio name, to Momokawa Shiko.
+</p>
+<div>
+<head type="sub2">LENT BY A COLLECTOR.</head>
+<list>
+<item n="158">
+Woman and child catching fireflies.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+
+<head type="sub">TOSHUSAI SHARAKU</head>
+
+<p>
+This artist was by profession a performer of the stately and aristocratic No dramas in the service of Hachisuka, Daimyo of Awa. During the period from about 1790 to 1795 he designed a small number of caricature portraits of actors, which have great force and distinguished character.
+</p>
+<div>
+<head type="sub2">LENT BY YAMANAKA &amp; COMPANY.</head>
+
+<list>
+<item n="159">
+The actor<note place="foot">
+<p>
+All the prints lent by Yamanaka &amp; Company have been acquired by Messrs. William S. and John T. Spaulding, of Boston.
+</p>
+</note> Tanimura Torazo̅ in the r&ocirc;le of Kakogawa Honzo̅.
+</item>
+<item n="160">
+Ichikawa Ebizo̅ in the r&ocirc;le of Ko no Moronao. This print bears an inscription, probably contemporary, giving the date 1794.
+</item>
+<item n="161">
+Onoe Matsusuke as one of the Loyal Ronin.
+</item>
+<item n="162">
+Rando Hikosaburo̅ in the r&ocirc;le of Yuranosuke.
+</item>
+<item n="163">
+Iwai Hanshiro̅ in the r&ocirc;le of Oishi, wife of Yuranosuke.
+</item>
+<item n="164">
+Ichikawa Monnosuke as one of the Loyal Ronin.
+</item>
+<item n="165">
+Morita Kanya as one of the Loyal Ronin.
+</item>
+<item n="166">
+Segawa Tominojo̅ in the r&ocirc;le of Kaoyo Gozen, wife of Yenya.
+</item>
+<item n="167">
+Sawamura Soju̅ro̅ in the r&ocirc;le of Yenya Hanguwan.
+</item>
+<item n="168">
+Arashi Tatsuzo̅ in the r&ocirc;le of Yoichibei.
+</item>
+<item n="169">
+Sakata Hangoro̅ as Ten-ichi-bo̅ Hotaku.
+</item>
+<pb n="48" />
+<item n="170">
+Segawa Tominojo̅ and Nakamura Manju̅ro̅ in female r&ocirc;les.
+</item>
+<item n="171">
+Nakajima Utaemon and Nakamura Konozo̅.
+</item>
+<item n="172">
+Ichikawa Omezo̅ in the r&ocirc;le of Sukeroku.
+</item>
+<item n="173">
+Matsumoto Koshiro̅ in the r&ocirc;le of the otokadat&eacute; Banzuin Chobei. This print is commonly known as <q>The man with the pipe.</q>
+</item>
+<item n="174">
+Matsumoto Yonesaburo̅ in the r&ocirc;le of Okaru, wife of Kampei.
+</item>
+<item n="175">
+Ichikawa Yaozo̅ in the r&ocirc;le of Hayano Kampei.
+</item>
+<item n="176">
+Kosagawa Tsuneyo̅ in the r&ocirc;le of Tonas&eacute;, wife of Kakogawa Honzo̅.
+</item>
+<item n="177">
+O̅tani Oniji in the r&ocirc;le of Sadakuro.
+</item>
+<item n="178">
+Sannogawa Ichimatsu in a female r&ocirc;le.
+</item>
+<item n="178a">
+Nakayama Tomisaburo̅ in the r&ocirc;le of Komurasaki, and Ichikawa Komazo̅ as her lover, Shirai Gompachi, walking with her under a huge umbrella.
+</item>
+</list>
+
+<figure url="images/cat178.jpg" rend="w90; page-float: 'ht'">
+<index index="fig" />
+<head>SHARAKU. Two Actors.</head>
+<figDesc>SHARAKU. Two Actors.</figDesc>
+</figure>
+
+</div>
+<div>
+<head type="sub2">LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.</head>
+<list>
+<item n="179">
+Segawa Tominojo̅.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">KITAGAWA UTAMARO</head>
+
+<p>
+One of the most gifted and most widely known of the Ukiyo&eacute; masters. Extraordinarily facile and brilliant. Born in 1753 and died in 1806.
+</p>
+<div>
+<head type="sub2">LENT BY SAMUAL ISHAM.</head>
+<list>
+<item n="180">
+<emph>Triptych.</emph> Imaginative view of a f&ecirc;te in a Chinese palace. It is a medley of Chinese and Japanese details intended as a take-off upon the treatment of Chinese subjects by the painters of the classic schools.
+</item>
+<item n="181"> The hour of the Boar (9 to 12 P.M.). One of a set illustrating the twelve hours into which the Japanese day is divided.
+</item>
+<item n="182">
+<emph>Diptych.</emph> Women in a nobleman's palace, painting kakemono.
+</item>
+<item n="183">
+Yoshiwara beauties on parade.
+</item>
+<item n="183a">
+A sheet from the <q>Washing day</q> triptych.
+</item>
+<item n="184">
+Woman helping a man attire himself in ceremonial dress.
+</item>
+<pb n="49" />
+<item n="185">
+Woman bending over to see a baby which another woman is nursing while seated before a mirror, arranging her hair.
+</item>
+<item n="186">
+Woman talking to a fan-mount vendor.
+</item>
+<item n="187">
+<emph>Triptych.</emph> The persimmon-gatherers.
+</item>
+<item n="188">
+<emph>Triptych.</emph> Procession of a noble lady and women attendants on their way to a temple, bearing offerings.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY HOWARD MANSFIELD.</head>
+<list>
+<item n="189">
+<emph>Triptych.</emph> Shadows on the shoji. Illustrations of three effects of sake (rice wine).
+</item>
+<item n="190">
+Woman arranging flowers.
+</item>
+<item n="191">
+The kitchen. One sheet of a diptych.
+</item>
+<item n="192">
+A night excursion. One of Utamaro's most famous prints.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY HAMILTON EASTER FIELD.</head>
+<list>
+<item n="193">
+Hairdresser combing a girl's hair.
+</item>
+<item n="194">
+Woman with a young boy on her back, watching three puppies at play.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED</head>
+<list>
+<item n="195">
+Kitao Masanobu drunk with sake at a f&ecirc;te in a daimyo's palace. Part of a triptych.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY A COLLECTOR</head>
+<list>
+<item n="196">
+Woman wearing a black zukin, and a maid bearing a lantern.
+</item>
+<item n="197">
+Woman standing on a pier, holding an umbrella, and conversing with a man seated under the canopy of a boat.
+</item>
+<item n="198">
+Woman bearing a teacup on a lacquer stand.
+</item>
+<item n="199">
+Woman raising the mosquito netting over her bed to read a letter by the light of an andon.
+</item>
+<item n="200">
+Three performers in a niwaka, or burlesque theatrical procession, in the streets of the Yoshiwara.
+</item>
+<item n="201">
+Woman holding in her mouth a <q>pokan-pokan</q>&mdash;a musical toy
+of thin glass which makes a peculiar sound when air is blown through it.
+</item>
+<pb n="50" />
+<item n="202">
+<emph>Triptych.</emph> Boating party.
+</item>
+<item n="203">
+<emph>Triptych.</emph> The awab&eacute; divers of Is&eacute;.
+</item>
+<item n="204">
+<emph>Triptych.</emph> Women and children on a bridge.
+</item>
+</list>
+
+<figure url="images/cat201.jpg" rend="w90; page-float: 'ht'">
+<index index="fig" />
+<head>UTAMARO. Woman with a Musical Toy.</head>
+<figDesc>UTAMARO. Woman with a Musical Toy.</figDesc>
+</figure>
+
+</div>
+</div>
+
+<div>
+<head type="sub">UTAGAWA TOYOKUNI</head>
+
+<p>
+A brilliant artist of high repute in his day. Some of his prints, especially the earlier ones, are of distinguished quality. He was born in 1769 and died on February 24, 1825.
+</p>
+<div>
+<head type="sub2">LENT BY A HAMILTON EASTER FIELD.</head>
+<list>
+<item n="205">
+<emph>Triptych.</emph> Street scene in the Yoshiwara.
+</item>
+<item n="206">
+Large head of an actor.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY HAMILTON EASTER FIELD.</head>
+<list>
+<item n="207">
+The actor Koraiya.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY HOWARD MANSFIELD.</head>
+<list>
+<item n="208">
+Musume raising a large umbrella.
+</item>
+<item n="209">
+<emph>Triptych.</emph> Women in a public bath-house.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED</head>
+<list>
+<item n="210">
+<emph>Triptych.</emph> The Six Tamagawa, represented by six women washing strips of cloth in a rapid-flowing stream.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY A COLLECTOR</head>
+<list>
+<item n="211">
+Woman accompanied by a maid carrying a lantern.
+</item>
+<item n="212">
+<emph>Triptych.</emph> Lady emerging from a kago; her attendants grouped about her.
+</item>
+</list>
+
+<figure url="images/cat209.jpg" rend="w60; page-float: 'ht'">
+<index index="fig" />
+<head>TOYOKUNI.  Women in Bath House.</head>
+<figDesc>TOYOKUNI.  Women in Bath House.</figDesc>
+</figure>
+
+</div>
+</div>
+
+<div>
+<head type="sub">KATSUSHIKA HOKUSAI</head>
+<p>
+A master of extraordinary versatility and power. Perhaps the most widely known of all the Japanese artists. He was born in 1760 and died in the spring of 1849.
+</p>
+<pb n="51" />
+<list>
+<item n="213">
+Winter landscape.
+</item>
+<item n="214">
+Cranes on a snow-laden pine tree.
+</item>
+<item n="215">
+Iris.
+</item>
+<item n="216">
+Turtles swimming.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY HAMILTON EASTER FIELD.</head>
+<list>
+<item n="217">
+Fuji san seen beneath a wave of the sea at Kanazawa. Hokusai's famous <q>wave.</q>
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY HOWARD MANSFIELD.</head>
+<list>
+<item n="218">
+View of Fuji from Ushibori; a large boat moored in the foreground.
+</item>
+</list>
+
+<figure url="images/cat218.jpg" rend="w90; page-float: 'ht'">
+<index index="fig" />
+<head>HOKUSAI.  Fuji from Ushibori.</head>
+<figDesc>HOKUSAI.  Fuji from Ushibori.</figDesc>
+</figure>
+
+
+</div>
+<div>
+<head type="sub2">LENT BY A COLLECTOR</head>
+<list>
+<item n="219">
+Winter landscape.
+</item>
+</list>
+</div>
+</div>
+
+<div>
+<head type="sub">ANDO HIROSHIGE</head>
+
+<p>
+The last great artist of the Ukiyo&eacute; school, and a consummate master of landscape art. Born in 1797 and died on October 12, 1858.
+</p>
+<div>
+<head type="sub2">LENT BY HAMILTON EASTER FIELD.</head>
+<list>
+<item n="220">
+ A cold morning at Shono, on the To̅kaido̅.
+</item>
+<item n="221">
+View of Fuji san from Goyo.
+</item>
+<item n="222">
+Pine trees on the shore at Hamamatsu.
+</item>
+<item n="223">
+Flying kites at Fukuroi.
+</item>
+<item n="224">
+The <q>fox fires</q> at O̅ji.
+</item>
+<item n="225">
+Kinryusan, Asakusa, in snow.
+</item>
+<item n="226">
+The fields back of Asakusa seen from a window through which a white cat is looking out.
+</item>
+<item n="227">
+Travellers in snow at Ishiyakushi.
+</item>
+</list>
+
+<figure url="images/cat222.jpg" rend="w90; page-float: 'ht'">
+<index index="fig" />
+<head>HIROSHIGE.  Pines at Hammamatsu.</head>
+<figDesc>HIROSHIGE.  Pines at Hammamatsu.</figDesc>
+</figure>
+
+
+</div>
+<div>
+<head type="sub">LENT BY ALBERT GALLATIN.</head>
+<list>
+<item n="228">
+Evening rain at Azumasha.
+</item>
+</list>
+<pb n="53" />
+</div>
+<div>
+<pb n="52" />
+<head type="sub2">LENT BY A COLLECTOR</head>
+<list>
+<item n="229">
+Autumn moon over the river Tama.
+</item>
+<item n="230">
+The evening glow at Setta.
+</item>
+<item n="231">
+The crowd in Ni Cho̅ (Second Street) at night. At the right is the Ichimura theatre, upon which and upon the tea-house across the way are tall signs advertising plays and actors.
+</item>
+<item n="232">
+Aowi and bird.
+</item>
+<item n="233">
+Pheasant and young pine trees upon a steep hillside.
+</item>
+<item n="234">
+Raftsman on the Sumida river in a snow storm.
+</item>
+</list>
+</div>
+<div>
+<head type="sub2">LENT BY HOWARD MANSFIELD.</head>
+<list>
+<item n="235">
+Shower at Sho̅no.
+</item>
+<item n="236">
+Gyo̅toku; boats returning.
+</item>
+</list>
+</div>
+</div>
+
+</div>
+
+</body>
+
+<back>
+<div rend="page-break-before: right">
+<divGen type="pgfooter" />
+</div>
+</back>
+
+</text>
+</TEI.2>
+
+
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@@ -0,0 +1,2554 @@
+The Project Gutenberg EBook of Japanese Colour-Prints and Their Designers
+by Frederick Gookin
+
+
+
+This eBook is for the use of anyone anywhere at no cost and with almost no
+restrictions whatsoever. You may copy it, give it away or re-use it under
+the terms of the Project Gutenberg License included with this eBook or
+online at http://www.gutenberg.org/license
+
+
+
+Title: Japanese Colour-Prints and Their Designers
+
+Author: Frederick Gookin
+
+Release Date: May 25, 2013 [Ebook #42811]
+
+Language: English
+
+Character set encoding: US-ASCII
+
+
+***START OF THE PROJECT GUTENBERG EBOOK JAPANESE COLOUR-PRINTS AND THEIR DESIGNERS***
+
+
+
+
+
+                   [HARUNOBU. Lovers walking in Snow.]
+
+                    HARUNOBU. Lovers walking in Snow.
+
+
+               Japanese Colour-Prints and Their Designers
+
+A Lecture Delivered Before the Japan Society of New York on April 19, 1911
+
+
+
+
+
+                       By Frederick William Gookin
+
+
+
+
+New York
+The Japan Society
+
+1913
+
+
+
+
+
+CONTENTS
+
+
+JAPANESE COLOUR-PRINTS AND THEIR DESIGNERS
+CATALOGUE OF A LOAN COLLECTION OF JAPANESE COLOUR-PRINTS
+   INTRODUCTION
+   CATALOGUE
+
+
+
+
+
+ILLUSTRATIONS
+
+
+HARUNOBU. Lovers walking in Snow.
+MORONOBU.  Nobleman and two Ladies at Seashore.
+KIYOMASU. Actors' Boating Party
+MASANOBU. Geisha playing Samisen.
+TOYONOBU.  Actor reading Letter
+KIYOMITSU. Daimyo Procession Game.
+HARUNOBU. Young Woman before Torii.
+HARUNOBU.  The Sleeping Elder Sister.
+HARUNOBU.  The Sleeping Elder Sister.
+HARUNOBU.  The Sleeping Elder Sister.
+HARUNOBU.  Woman reading Letter.
+KORYUSAI.  Musume leaping from Temple Balcony.
+SHUNSHO.  Woman in Red.
+KIYONAGA.  Holiday Group at Gotenyama.
+KIYONAGA. Picnic Party.
+BUNCHO.  Actor as Woman talking to Men.
+KIYONAGA. Man and two Women approaching Temple.
+SHUNCHO.  Women watching Girls bouncing Balls.
+EISHI. Fete in a nobleman's palace.
+SHARAKU. Two Actors.
+UTAMARO. Woman with a Musical Toy.
+TOYOKUNI.  Women in Bath House.
+HOKUSAI.  Fuji from Ushibori.
+HIROSHIGE.  Pines at Hammamatsu.
+
+
+
+
+
+
+JAPANESE COLOUR-PRINTS AND THEIR DESIGNERS
+
+
+In the annals of art production the colour-prints designed by the master
+artists of the Ukiyoe school occupy a unique place. They represent a
+plebeian art which was not a spontaneous upgrowth from the soil, but, so
+to speak, a down-growth or offshoot from an old and highly developed art
+of aristocratic lineage.
+
+This elder art had its fountain-head in ancient China. That country,
+during the Tang and the Sung dynasties (618-905, 960-1280), was the seat
+of an aesthetic movement during which painting and other arts reached an
+extraordinarily high development. To the works produced during this great
+flowering-time of art the Japanese painters of the classical schools
+turned for inspiration and enlightenment. These works were distinguished
+by singleness of purpose, rhythmic vitality, and synthetic coherence, and
+by a clear conception of the essential that goes far beyond anything
+elsewhere attained, and which, when fully apprehended, must inevitably
+force a revision of Western ideas and criteria.
+
+The art of ancient China and of the earlier Japanese schools is an art
+refined, poetic, and intensive to the last degree. It is based upon
+profound understanding of aesthetic laws. The artists were carefully
+grounded in the fundamental principles that govern all art, whether
+Oriental or Occidental. The result of this training is apparent in the
+homogeneity of their works. In Europe very confused notions have prevailed
+as to what should be done and what is permissible in art. Not even the
+great artists have always seen clearly; had they done so, it cannot be
+doubted that Western achievement would have attained a much higher level
+than it has ever reached.
+
+In the Japanese modifications of the ancient Chinese art its traditions
+and aesthetic ideals were sedulously preserved. With only rare exceptions,
+the artists--and under this head it is necessary to include potters,
+lacquerers, metal-workers, swordsmiths, and others--were drawn from the
+upper classes. Many of them were in the service of the daimyo, and did not
+sell their productions, but received from their noble patrons regular
+stipends in koku of rice. Seldom did any of their works find their way
+into the hands of the common people, who had little opportunity,
+therefore, to become familiar with them. Gradually, however, as the number
+of paintings, statues, and other art objects multiplied and the temples
+were filled with votive offerings, the classical art made its impress upon
+buildings, wearing apparel, and utensils of all sorts; its conventions and
+principles were laid hold of by all classes and became the heritage of the
+entire people.
+
+            [MORONOBU.  Nobleman and two Ladies at Seashore.]
+
+             MORONOBU.  Nobleman and two Ladies at Seashore.
+
+
+The social fabric in old Japan was one of sharp distinctions. At the upper
+end of the scale were the Emperor; the kuge, or court nobles; the daimyo,
+or lords of the two hundred and fifty-one provinces; and the samurai, or
+hereditary military men, from whom were recruited the officials, priests,
+and scholars. Between these and the lower classes was an almost
+immeasurable gulf. Highest among the heimen, or commoners, were the
+farmers. Below them were the artisans, and still lower were the merchants,
+innkeepers, servants, and the like; while lowest of all were the eta, or
+outcasts, a class comprising scavengers, butchers, leather-workers, and
+others engaged in what were considered degrading occupations.
+
+Under the peaceful regime of the Tokugawa shoguns there was a sociological
+change that in the cities almost amounted to a transformation. The most
+salient feature was the rise of the tradesmen and artisans to wealth and
+power. Many places of amusement sprang up, restaurants and tea-houses
+multiplied, jugglers, story-tellers, musicians, and other itinerant
+entertainers found audiences in every street, fetes were frequently held
+in the temple compounds, the theatre rose to a position of prominence, and
+the yukwaku, or courtesan quarters, with their medley of attractions,
+became established institutions.
+
+The art of the Ukiyoe was a direct outcome of the gay life of this time.
+The inception of the school dates back to the closing years of the
+sixteenth century, when a reaction set in against the Chinese classicism
+of the Ashikaga period. This manifested itself in the choice of Japanese
+instead of Chinese subjects, and in novel treatment in which features of
+both the classic Kano and Tosa styles were combined, but which in many
+respects broke away from academic traditions. The reputed leader of the
+revolt was Iwasa Shoi, better known as Matahei, son of the Daimyo of
+Itami; but other distinguished artists, notably Kano Sanraku, also painted
+pictures in the new manner, which was not then held to constitute a
+distinct school. The subjects being drawn from the life of the people,
+these pictures were called Ukiyoe. E is the Japanese term for a picture or
+drawing.(1) Ukiyo, as originally written, had a Buddhistic signification
+and was applied to the secular as distinguished from the ecclesiastical
+world. Literally the word means "the miserable world," but as now used it
+may be more accurately translated as "the passing (or floating) world of
+every-day life."
+
+Perhaps for the reason that Ukiyoe themes were not considered quite
+dignified, and because they did not express poetic ideas, the Ukiyo
+paintings of Matahei and his contemporaries and successors, though prized
+and much sought after, were seldom signed, and the identification of their
+authorship is a matter of extreme difficulty. For more than half a century
+works in this manner continued to be produced in considerable numbers, but
+the movement did not crystallize into a school until, in the person of
+Hishikawa Moronobu, a leader appeared to give it form and direction.
+Moronobu was an artist of rare distinction. His paintings were eagerly
+sought by the daimyos and the wealthier samurai. But Moronobu was a man of
+the people, and it was as a designer of book illustrations and later of
+ichimai-ye, or single-sheet prints, that he gave the impetus to Ukiyoe.
+For fifty years or more prior to his time books with engraved
+illustrations had been published in Japan, but they were comparatively few
+and the illustrations were poor and crudely executed. The twelve drawings
+Moronobu made for a book of instruction for women in etiquette and
+hygiene, published in 1659, marked a decided advance. This, so far as we
+know, was the first of a long series of books illustrated by him. Their
+popularity was deservedly great, and by them his fame became wide-spread.
+The illustrations were printed in black from blocks similar to those from
+which the text was printed, and were characterized by fine broad treatment
+and a rather wiry but strong and expressive outline.
+
+About 1670 Moronobu began to issue large single-sheet prints which could
+be affixed to screens or mounted as kakemono. These prints, which were
+impressions in black from one block only, are known as sumi-ye--_sumi_
+being the Japanese name for Chinese--or, as we incorrectly call it,
+India--ink. They were designed to be coloured by hand, and apparently a
+part of the edition was so coloured before being placed on sale by the
+publishers. At first this colouring consisted of a few touches of
+yellow-green crudely laid on; later it became more elaborate, and
+occasionally we meet with prints that are very beautifully coloured, but
+in such cases it is impossible to tell when or by whom the colouring was
+done. The probability is that in some instances it was the work of
+purchasers of the prints.
+
+Moronobu's pupils, of whom there were many, devoted themselves almost
+exclusively to painting. After his death in 1695, the production of prints
+fell chiefly into the hands of Torii Kiyonobu and his son Torii Kiyomasu,
+two artists who take rank among the most talented men of the Ukiyoe
+school. Moronobu had taken for the subjects of his prints historic
+incidents, the manners and customs of the people, and, in particular,
+women and their occupations and amusements. To these the Torii artists,
+seeing a new and fertile field for the print-designer in the rise of the
+theatre as a popular form of entertainment, added portraits of actors in
+the costumes of their most admired roles. Especially esteemed were
+Kiyonobu's portraits of the first DanjuIroI. During the Genroku period
+(1688-1704) the people developed a passion for the theatre that amounted
+to veritable madness. In the first quarter of the eighteenth century this
+reached a height that sorely troubled the Tokugawa rulers. To check it
+various expedients--among them the exclusion of women from the stage--were
+tried. They only added fuel to the flame. Certain gross practices were
+abolished. This helped to purify the theatre, but also to perpetuate it by
+removing the seeds of what must inevitably have meant its early decay.
+Actors of distinguished ability became popular idols. Their comings and
+goings were like royal progresses. Wherever they went, were it to view the
+cherry blossoms at Ueno, for a boating party on the river, or for a visit
+to the Yoshiwara, they moved in state. Yet their rank in the social scale
+was so low that they were looked upon as little better than eta. The
+earliest actors were contemptuously termed _kawara-mono_ (river-bed folk),
+from the fact that the first theatrical performances in Japan were upon a
+stage erected in the dry bed of the Kamogawa at Kyoto. The stigma that
+attached to their origin and to the vulgarity of the early performances
+has never been entirely lifted. Many of the Ukiyoe artists felt it a
+degradation to make drawings of actors. Nevertheless the popular demand
+created a supply, and for more than a century a large proportion of the
+enormous output of prints consisted of theatrical scenes and portraits of
+the performers.
+
+                    [KIYOMASU. Actors' Boating Party]
+
+                     KIYOMASU. Actors' Boating Party
+
+
+Many of the prints produced during the early years of the eighteenth
+century were large single figures of actors, geishas, and women of the
+Yoshiwara. These were broadly treated, with strong, free brush-strokes
+based upon the technique of the Kano masters and quite different from
+Moronobu's style, which was more nearly like that of the Tosa painters.
+Each of the classical schools, I may explain, had its own peculiar
+methods, for which brushes of special shape were required. In their
+spontaneity, their freedom, their glorious sweep of line, these prints are
+among the finest works of the Ukiyoe school. Among them are many
+masterpieces of linear composition. Yet by the people of the upper classes
+they were regarded as hopelessly vulgar. Though the Kano painters used
+similar sweeping strokes, they laid great stress upon carefully modulated
+tone. The notan, or lightness and darkness of the ink in different parts
+of the drawing, was an essential quality. It should not be confused with
+chiaroscuro, the science of light and shade. Notan signifies merely
+difference in lightness and darkness of tone. In the early prints this did
+not appear. All the lines were uniformly black. And the addition of
+colouring which was looked upon as coarse and gaudy was a further offence
+to persons of refined taste.
+
+Our vision not being hampered by the canons of the Kano academy, we can
+appreciate the distinguished character of these compositions.
+Unquestionably the brush-work of a Sesshu, a Motonobu, or a Tanyu--to name
+a few only of the most eminent of the Japanese painters--has a precious
+quality not to be found in any printed line.(2) Nevertheless the primitive
+Ukiyoe prints have a freshness and vital force peculiarly their own. The
+word "primitive" as applied to these prints calls for a word of
+explanation. They are primitive, not in their art, which is highly
+developed, but merely as regards its application to wood-engraving.
+
+The failure of Japanese connoisseurs to appreciate Ukiyoe art is not,
+however, entirely or even principally because of its technique. The art of
+the classical schools is deeply imbued with poetic feeling and usually is
+dignified in subject. Ukiyoe art, on the contrary, is flippant, whimsical,
+comic. Except when it deals with portraits, landscapes, or birds and
+flowers--subjects that are not strictly Ukiyoe--it is seldom that the things
+depicted are intended to be taken quite seriously. In nearly every picture
+there is some joke, open or cleverly hidden, some amusing fantasy in the
+shape of a modern analogue or travesty of popular myth, well-known tale,
+or historical event. Sly hits at the vices or follies of the aristocrats
+are not uncommon. A very large proportion of the subjects deals with the
+theatre and the denizens of the Yoshiwara. To the Japanese of the upper
+classes Ukiyoe art was a synonym for the art of the underworld. It is not
+surprising that they failed to appreciate its merit. To give Ukiyoe
+paintings or prints an honourable place in one's house was a confession of
+lack of taste. Were there no other reason, the subjects for the most part
+rendered them unfit, if not impossible. The prints were indeed amusing,
+and therefore many of them were saved; but they were looked upon much as
+we regard the pictures in our comic periodicals. Even when the art in
+these is good, it is hard to disassociate it from the humour and to enjoy
+it for itself alone. More commonly we fail to appreciate it as art or even
+to think of it as such. So it was with the prints. To the Japanese they
+appeared little better than children's toys. In considering this we should
+not overlook the important circumstance that when first printed they were
+in general less charming than they are to-day. The wonderful colour that
+makes them so entrancing has come in large measure through the mellowing
+influence of time. Not infrequently this has wrought transformations that
+would seem incredible did not close study show clearly the changes that
+have taken place.
+
+                   [MASANOBU. Geisha playing Samisen.]
+
+                    MASANOBU. Geisha playing Samisen.
+
+
+Even to-day inherited prejudice prevents wide-spread appreciation of the
+prints in the land of their origin. Our enthusiastic admiration is still
+more or less a mystery to our neighbours across the Pacific. Only now,
+when most of the fine prints have passed into the hands of European and
+American collectors, are the Japanese connoisseurs beginning to understand
+how it is that the Western art-lover, unfettered by any traditional point
+of view and not disturbed by any meanings the subject may hold or suggest,
+is able to perceive the glorious colour, the superb composition, the
+masterly treatment and rare beauty to which they have been blind.
+
+The history of art is everywhere among civilized peoples a record of the
+influence of a succession of ideas, each in turn dominating for a longer
+or a shorter period the character of what is produced. When an idea has
+sufficient vitality to constitute the germ of a specific type of art, and
+artists of creative genius are inspired by it, the votaries working under
+the stimulus of a common ideal form what we designate as a school. "When
+left to pursue its course of development unchecked," each marked type of
+art, as John Addington Symonds pointed out in one of his essays, "passes
+through stages corresponding to the embryonic, the adolescent, the
+matured, the decadent, and the exhausted," This sequence, he showed, was
+clearly marked in the evolution of Italian painting, the Attic and the
+Elizabethan drama. Any of the classic schools of Japanese painting, the
+Kose, the Yamato, the Sesshu, or the Kano, would furnish an excellent
+illustration, though in studying these movements it would be necessary to
+follow them back to their Chinese antecedents. The Ukiyoe school affords a
+particularly striking example. In the works of the earlier
+artists--Moronobu, Kiyonobu, Kiyomasu, and the KwaigetsudoI group--we find
+superabundant vigour, swift inspiration, and splendid though sometimes
+brutal force. The note of prophecy that these works contain is found also
+in those of the next generation of artists, foremost among whom was
+Okumura Masanobu. The fire of enthusiasm still glows brightly, but more
+attention is paid to subtleties of style, to beauty of detail, and to the
+development of technical processes. Hand-coloured prints are superseded by
+those in which the colour as well as the black outline is printed. Ukiyoe
+has become an art of the printed pictures which in large measure have
+taken the place of paintings.
+
+Then, after a brief interval of eager experiment and rapid changes, comes
+the flowering-time, when a group of great artists turn out by the thousand
+works in which spiritual intensity is combined with grace, beauty,
+refinement of composition, and technical perfection. This is the epoch of
+Harunobu, ShunshoI, Shigemasa, Koryusai, Kiyonaga, and ShunchoI.
+
+The decline of the initial impetus that brought the school into being is
+plainly apparent in the works of the next generation. Utamaro was an
+artist of the very first rank, whose genius cannot be gainsaid; Eishi and
+Toyokuni were only a little less brilliant; but it was their misfortune to
+come upon the scene when the cycle of animating ideas had been exhausted.
+Too virile to be content merely to echo the performances of their
+predecessors, they spent their energy in inventing variations upon the
+perfected type. It was the only course open to them, but it led steadily
+and swiftly downward, though neither the artists nor the people who
+gleefully applauded each successive innovation were conscious of the
+decadence.
+
+With the appearance of still another generation of artists upon the scene,
+the degradation of the school was complete. Artistic feeling was obscured
+by blatant vulgarity and affectation. There was a steady letting down to
+the level of the popular taste, which was steadily lowered in consequence.
+The skill of the more able artists was expended in the production of works
+interesting chiefly as _tours de force,_ more remarkable for technical
+than for artistic merit; the tendency toward exaggerated drawing became
+more pronounced; colouring grew more crude, raw, and over-vivid.
+Coincident with this decline in the art of the Popular School was a change
+for the worse in the fashions of the time. Loud patterns for brocades and
+other fabrics came into vogue; garments became showy and elaborate;
+coiffures, more especially those of the demi-monde, were often startling
+in their extravagance. As the prints were accurate mirrors of contemporary
+life, in these changed fashions may be found a partial explanation of the
+inferiority of the works of the later men. The Ukiyoe RyuI was a school of
+design which laid its impress upon all of the arts. The prints were but
+one of its phases, though the principal and the most distinguished of
+them. The rise, culmination, and disintegration took place all along the
+line. Toward the middle of the nineteenth century the Ukiyoe school sank
+into the dotage of decrepitude, and then into the sleep from which there
+is no awakening. I choose this phrase deliberately. An art that is of the
+past can never be revived. We may strive to work in the style of Harunobu
+or of Kiyonaga. All we can do is to copy their forms and imitate their
+mannerisms. We cannot possibly get our inspiration from the same source as
+they; that dried up at the fountain-head long ago. The best work we can do
+in their style must necessarily lack creative force and be without a spark
+of real vitality.
+
+Primarily the charm of the Ukiyoe colour-prints is due to the fact that
+the leading masters of the school were artists of exceptional power. It is
+also due to the fact that most of them(3) made print-designing their chief
+occupation, to which they devoted their thought, time, and skill, and that
+with rare exceptions they were less distinguished as painters.
+
+                    [TOYONOBU.  Actor reading Letter]
+
+                     TOYONOBU.  Actor reading Letter
+
+
+From about 1670, when Moronobu began to issue single-sheet prints, until
+about 1742, a period of at least seventy years, the prints were in black
+outline and were coloured by hand. They were, in fact, cheap paintings.
+Early in the eighteenth century the chief pigment used in colouring them
+was red lead. The Japanese name for this pigment is tan, and the prints
+upon which it appears are designated as tan-ye. About 1710 yellow and
+citrine were commonly used with the tan. Four or five years later a new
+style of hand-colouring, said to have been devised by Torii Kiyonobu, came
+into vogue and greatly modified the style in which the prints were
+designed. In place of tan he substituted beni, a very beautiful but
+fugitive red extracted from the saffron. This was used in combination with
+a greenish yellow (probably gamboge) and low-toned blues and purples.
+Finer details were introduced into the designs, and the colouring in
+general was more carefully done. In response to a growing demand for less
+expensive pieces smaller prints (hoso-ye) became common. To give
+brilliance to the pigments a little thin lacquer (urushi) was mixed with
+them, and, while wet, parts of the design were sprinkled with metallic
+powder, which was probably applied by blowing it through a small bamboo
+tube. These prints were known as urushi-ye, or lacquer prints. A little
+later the custom grew up of painting parts of the prints with black
+lacquer.
+
+Not until the year 1742 did the practice begin of applying colour by
+impressions from flat wood blocks. Why the invention should have been so
+long delayed, and why, after it was once made, nearly fourteen years more
+should have elapsed before the number of colour-blocks was increased
+beyond two, are questions to which no certain answer is yet forthcoming.
+It is incredible that during the forty years when innumerable
+hand-coloured prints were issued no one should have conceived the idea of
+printing the colour as well as the black outline. Without doubt some
+practical difficulty connected with the printing stood in the way.
+Possibly the thing that awaited discovery was the trick of mixing rice
+paste with the colour to keep it from running. Or, as is more likely, it
+took a long while to discover a practical method of securing accurate
+register in impressions made upon damp paper which was liable to stretch
+or shrink during the printing process. Whatever the problem may have been,
+the honour of the solution is due to Okumura Masanobu. Being a publisher
+as well as an artist, he was no doubt alive to the economic advantage of a
+cheaper process and to the attraction of novelty. Some years earlier he
+had invented the hashira-ye, or pillar-print, and had also put forth a
+series of prints that show a fair understanding of the laws of linear
+perspective to which he gave the name of Ukiye. Being an artist as well as
+a publisher, Masanobu perceived that the change in process called for a
+change in the style of the designs. The very first of the new prints,
+therefore, were characterized by finer and more exquisite detail than was
+suitable for the hand-coloured editions. The colours used were beni and a
+soft green; and the name beni-ye, which had been applied to the
+hand-coloured prints in which beni was used, was also given to them. A
+happier selection of colours could not have been made. By thinning the red
+and modifying the hue of the green a wide range of effects was secured.
+Almost every possible combination and variation was tried during the
+fourteen or fifteen years that the beni-ye were in vogue. The world is far
+richer because of this long period before the number of colour-blocks was
+increased, since time was afforded to work out the decorative
+possibilities resulting from the limitation to two colours and black and
+white. This limitation demanded fine skill and creative resource in the
+invention of pattern and the distribution of the colours employed.(4) The
+results achieved were remarkable. Until one has seen them it is impossible
+to realize that so much life and vivacity of colouring could be given by
+impressions from two blocks charged with rose and green.
+
+                   [KIYOMITSU. Daimyo Procession Game.]
+
+                    KIYOMITSU. Daimyo Procession Game.
+
+
+By many the beni-ye are regarded as the choicest products of the school.
+So charming were they when first printed that they speedily drove the
+urushi-ye prints out of the market, with the exception of the tall
+hashira-ye, or pillar prints, of which hand-coloured editions continued to
+be produced for a year or two, to satisfy those who still wished paintings
+rather than prints. Most of the beni-ye that have survived until our time
+are very much faded. The beni has quite generally turned into a soft
+yellow or disappeared altogether. The green is more stable, but that also
+has in many instances become a warm citrine or russet. Extremely rare are
+the specimens in which the original colour has not suffered material
+modification.
+
+From the testimony of the prints themselves it appears probable that very
+soon after Okumura Masanobu issued the first prints in beni and green,
+similar prints were put forth by Nishimura Shigenaga, Ishikawa Toyonobu,
+Torii Shiro (otherwise Kiyonobu the second), and all the Yedo
+print-designers, among them the veteran Torii Kiyomasu. None of these men
+seems to have attempted any marked departure from the type established by
+Okumura. About 1755, however, a group of young men appeared upon the
+scene, who were fired with zeal for further experiments. The leaders were
+Torii Kiyomitsu, Kitao Shigemasa, and Suzuki Harunobu. Kiyomitsu began by
+trying novel colour schemes such as two tones of beni instead of beni and
+green. Then he tried a third colour-block. After this new developments
+followed in rapid succession. The variety and range of the colour schemes
+broadened almost from day to day. At first the wider resources proved an
+embarrassment, but the mastery attained in dealing with the simpler means
+soon enabled the artists to take advantage of them. Invention was
+stimulated. In 1764 a printer named Kinroku discovered a method by which
+printing in colours from many blocks became possible. We can only guess at
+the nature of the difficulty that was surmounted; but as it is known that
+the printing was usually done upon dampened paper, it is evident that the
+stretching or shrinking of the sheets, to which I have already referred,
+must have proved extremely troublesome, and that every additional block
+must have multiplied the liability to defective register. It is reasonably
+safe to assume, therefore, that to find some means of overcoming this was
+the problem which remained unsolved for so many years.
+
+                  [HARUNOBU. Young Woman before Torii.]
+
+                   HARUNOBU. Young Woman before Torii.
+
+
+The name of Suzuki Harunobu is familiar to every admirer of Japanese
+prints. It is in large measure to his genius that the development of
+full-colour printing is due. He was not only the first artist to make use
+of the new process, but he took advantage of it to bring out prints of a
+novel type. Very dainty and graceful these were, and in the poetic
+allusions or quiet humour with which they were charged, and in the quality
+of the brush-strokes with which the drawings were executed, they made a
+direct appeal to men of taste. Success was instantaneous. By the year 1765
+Harunobu had come to the front and distanced all competitors for popular
+favour. The serenity and compelling charm of his compositions brought him
+wide fame. Realizing the possibilities that now lay before him, he proudly
+exclaimed, "Why should I degrade myself by the delineation of actors?" His
+ambition, he said, was to become "the true successor of the painters in
+the department of printing"; that is to say, to design prints that should
+be worthy substitutes for paintings. Instead of restricting himself to a
+few primary or secondary hues and the variations resulting from their
+superposition, he mixed his colours to get the precise tint desired, and
+he used as many colour-blocks as were needed for the effects at which he
+aimed. The Yedo-ye, or Yedo pictures, as the prints had been called from
+the fact that they were produced only at the eastern capital, were now
+denominated nishiki-ye, or brocade pictures, from the number of colours
+woven together in them. To the printing itself, the charging of the blocks
+with colour, the character and quality of the pigments and of the paper
+used, Harunobu gave careful attention, and these things were greatly
+improved as a result of his experiments.
+
+Under his leadership the art now entered upon the period of its greatest
+triumphs. In the eager search for novel subjects scarcely anything was
+left untouched. History, mythology, and romance, the numberless fetes and
+merrymakings of the people and the daily routine of their lives,
+representations of celebrated poets and heroes, scenes from the drama,
+portraits of popular actors and courtesans, the revels of the Yoshiwara,
+animals and plants, familiar scenes and famous landscapes, furnished
+motives for almost endless broadsheets and book illustrations. No other
+art was ever more crowded with human interest.
+
+The forward movement in print-designing at this epoch was helped on by a
+number of highly gifted artists who seem to have worked together to some
+extent. Katsukawa ShunshoI, who took up the theatrical branch of
+print-designing that Harunobu scorned, is one of the most distinguished
+masters of the Ukiyoe school. He was a designer of marked power, a
+colourist of the first rank. His works are not yet appreciated as they
+should be, but the finest of them yield pure aesthetic delight of most
+exalted quality. Kitao Shigemasa, Ippitsusai BunchoI, and Isoda Koryusai
+also rank among the first-rate men of this period. In the contest for
+popular favour during the ten years following the death of Harunobu, which
+took place in the summer of 1770, it has been said that the guerdon rested
+upon Koryusai, but that is a mistake, for both ShunshoI and Shigemasa
+stood higher in the estimation of qualified judges. All, however, were
+surpassed a few years later by Kiyonaga, the last great artist of the
+Torii line and the culminating figure in the history of the Popular
+School. He conquered by the rugged strength and marvellous quality of his
+brush-strokes, by the richness of his colouring and the ripe mastery he
+displayed over all the resources of his craft. But also he created a new
+type of design--that which found expression in the great diptychs and
+triptychs that stand as the triumphs of colour-printing. At the height of
+his power his influence over his contemporaries was so great that, without
+exception, the younger men among them copied his style as closely as they
+could.
+
+When Kiyonaga, about 1793, stopped designing prints, the decadence had
+already set in. The decade that followed was a period of rapid
+deterioration, with Utamaro as its particular evil genius. Yet many of the
+most splendid of the prints were produced in that decade. Where shall we
+look for anything finer than Eishi's wonderful series with the chocolate
+background, or his triptychs of the Prince Genji series? Where shall we
+find anything to equal the brilliant characterization of Sharaku's actor
+portraits? Where else shall we turn for such marvellously facile rhythmic
+line, such swift, vital handling as that which made Utamaro's masterpieces
+the despair of his many imitators? Toyokuni also designed many fine
+prints; but as he was a man of less force than the others I have named, he
+fell faster and farther than they did, and fewer of his works command our
+admiration.
+
+                 [HARUNOBU.  The Sleeping Elder Sister.]
+
+                  HARUNOBU.  The Sleeping Elder Sister.
+
+
+I have left myself little time to speak of two eminent artists, both of
+them world-renowned, who by their genius made the latter years of the
+Ukiyoe school as notable in their way as any in its entire history. Either
+Hokusai or Hiroshige might well engage our attention for an entire
+evening. Both were extraordinarily prolific; Hokusai was the more
+versatile and has the wider reputation. Both are among the greatest
+landscape artists the world has ever known. Their numerous prints of
+landscapes are a revelation of the possibilities of originality in
+composition and variety of interest in this field. Unless one has studied
+these prints in fine examples, it is impossible to realize how great is
+their merit. This is true of all the prints, but particularly true of
+Hiroshige's. Between the best impressions and the very good ones the
+difference is really astonishing. But the best are so extremely rare as to
+make it probable that because of the difficulty and the cost of printing,
+very few of them were issued--the publishers finding cheaper editions more
+profitable.
+
+Though classed as Ukiyoe artists, Hokusai and Hiroshige really represent a
+separate movement which undoubtedly would have crystallized into a
+distinct school had worthy followers arisen to carry it forward, had the
+times been different, and, last but not least, had the genius of the two
+masters been less transcendent.
+
+In this sketch of the history of the art of Ukiyoe colour-printing only
+the more salient features have been touched upon. Of the prints themselves
+it is not too much to say that the finest of them are the most beautiful
+specimens of printing that have been done in any land at any time.
+
+Yet none but the most primitive methods--or what from our point of view may
+seem such--were employed. The most wonderful among all the prints is but a
+"rubbing" or impression taken by hand from wood blocks. The artist having
+drawn the design with the point of a brush in outline upon thin paper, it
+was handed over to the engraver, who began his part of the work by pasting
+the design face downward upon a flat block of wood, usually cherry, sawn
+plankwise as in the case of the blocks used by European wood-engravers in
+the time of Duerer. The paper was then scraped at the back until the design
+showed through distinctly in every part. Next, the wood was carefully cut
+away, leaving the lines in relief, care being taken to preserve faithfully
+every feature of the brush-strokes with which the drawing was executed. A
+number of impressions were then taken in Chinese ink from this "key block"
+and handed to the artist to fill in with colour. This ingenious plan,
+which is manifestly an outgrowth of the early custom of colouring the ink
+prints (sumi-ye) by hand, and which perhaps would never have been thought
+of had not the colour itself been an afterthought, enabled the artist to
+try many experiments in colour arrangement with a minimum amount of
+labour. The colour scheme and ornamentation of the surfaces having been
+determined, the engraver made as many subsidiary blocks(5) as were
+required, the parts meant to take the colour being left raised and the
+rest cut away. Accurate register was secured by the simplest of devices. A
+right-angled mark engraved at the lower right-hand corner of the original
+block, and a straight mark in exact line with its lower arm at the left,
+were repeated upon each subsequent block, and, in printing, the sheets
+were laid down so that their lower and right-hand edges corresponded with
+the marks so made. The defective register which may be observed in many
+prints was sometimes caused by unequal shrinking or swelling of the
+blocks. In consequence of this, late impressions are often inferior to the
+early ones, even though printed with the same care, and from blocks that
+had worn very little. The alignment will usually be found to be exact upon
+one side of the print, but to get further out of register as the other
+side is approached.
+
+The printing was done on moist paper with Chinese ink and colour applied
+to the blocks with flat brushes. A little rice paste was usually mixed
+with the pigments to keep them from running and to increase their
+brightness. Sometimes dry rice flour was dusted over the blocks after they
+were charged. To this method of charging the blocks much of the beauty of
+the result may be attributed. The colour could be modified, graded, or
+changed at will, the blocks covered entirely or partially. Hard,
+mechanical accuracy was avoided. Impressions differed even when the
+printer's aim was uniformity. Sometimes, in inking the "key block," which
+was usually the last impressed, some of the lines would fail to receive
+the pigment, or would be overcharged. This was especially liable to happen
+when the blocks were worn and the edges of the lines became rounded. A
+little more or a little less pigment sometimes made a decided difference
+in the tone of the print, and, it may be noted, has not infrequently
+determined the nature and the extent of the discolouration wrought by
+time.
+
+                 [HARUNOBU.  The Sleeping Elder Sister.]
+
+                  HARUNOBU.  The Sleeping Elder Sister.
+
+
+In printing, a sheet of paper was laid upon the block and the printer
+rubbed off the impression, using for the purpose a kind of pad called a
+_baren._ This was applied to the back of the paper and manipulated with a
+circular movement of the hand. By varying the dampness of the paper and
+the degree of pressure the colour could be forced deep into the paper, or
+left upon the outer fibres only, so that the whiteness of those below the
+surface would shine through, giving the peculiar effect of light which is
+seen at its best in some of the surimono (prints designed for distribution
+at New Year's or other particular occasions) by Hokusai and his
+contemporaries. Uninked blocks were used for embossing portions of the
+designs. The skill of the printer was a large factor in producing the best
+results. Even the brilliancy of the colour resulted largely from his
+manipulation of the pigments and various little tricks in their
+application. The first impressions were not the best, some forty or fifty
+having to be pulled before the block would take the colour properly. Many
+kinds of paper were used. For the best of the old prints it was thick,
+spongy in texture, and of an almost ivory tone. The finest specimens were
+printed under the direct personal supervision of the artists who designed
+them. Every detail was looked after with the utmost care. No pains were
+spared in mixing the tints, in charging the blocks, in laying on the paper
+so as to get the best possible impressions. Experiments were often tried
+by varying the colour schemes. Prints of important series, as, for
+example, Hokusai's famous "Thirty-six Views of Fuji," are met with in
+widely divergent colourings.
+
+The pigments most frequently used were comparatively few, and different
+lots of the same pigment seem to have been far from uniform in hue. As to
+this and some other points upon which we should be glad to have light, no
+very certain information exists. We do not know how soon some of the
+colours began to fade. Internal evidence indicates that in some instances
+the change took place within a comparatively short time, as in the case of
+the lovely blue used by Harunobu and ShunshoI chiefly as a colour for sky
+and water. It appears to have been a compound tint formed of blue mixed
+with some other colour to modify its intensity. In the change which
+followed--possibly a chemical one--the blue disappeared in whole or in part,
+leaving in its stead a buff hue having peculiar depth and a soft, velvety
+texture. To our eyes the modified colour is often far more beautiful than
+the original, but the variation, it may safely be asserted, was not
+desired by the artist.
+
+The quality of the colour wrought by these changes explains why it is not
+possible to-day to reproduce the prints successfully. The printing process
+is still in use, and, as the plates in such publications as "Kokka"
+attest, very splendid results are still yielded by it. But some of the old
+pigments cannot now be obtained; and if they could be, we should still
+have to wait long years for time to mellow the prints made with them.
+Indigo can be had, but it is not the same indigo and its colour is not
+quite like the old, which was extracted from blue cloth imported from
+China. Beni can be made, but the secret of the blue added to it to produce
+the divine violet seen in many of the prints has been lost, as has that of
+the precious moss-green used by Utamaro. Many reproductions have been made
+during the last twenty-five years, and some of them are extremely clever;
+but the printing lacks depth, and when placed beside the old works they
+appear dull and lifeless.
+
+Colour-prints were made for many purposes. To some extent they were used
+as advertisements. Incidentally they served as fashion plates. Some were
+regularly published and sold in shops. Others were designed expressly upon
+orders from patrons, to whom the entire edition--sometimes a very small
+one--was delivered. The number struck from any block, or set of blocks,
+varied widely. Of the more popular prints many editions were printed, each
+one, as might be expected, inferior to those that preceded it. Not
+infrequently the Yedo publishers removed from their out-of-date blocks the
+marks showing their imprint, and sold them to publishers in Osaka and
+Nagoya, by whom poor and cheap editions were issued. Eiraku-ya of Nagoya,
+in particular, is said to have bought many old blocks, some of which were
+revamped in various ways before being reprinted.
+
+                 [HARUNOBU.  The Sleeping Elder Sister.]
+
+                  HARUNOBU.  The Sleeping Elder Sister.
+
+
+In a number of instances, when blocks had worn out or had been
+accidentally destroyed in the fires by which Yedo was ravaged, the artists
+were called upon to make new drawings of the same subjects. Usually, in
+such cases, the second design differed very little from the first, save in
+such details as the patterns upon the garments of the figures and the
+styles of hair arrangement, which invariably reflected the current mode.
+Kiyonaga's "Iris Garden" and his well-known triptych "Ushiwaka Serenading
+Jorurihime" are notable examples of this practice. Two designs of each of
+these were issued, the intervals between the appearance of the first and
+second being, in each instance, about three or four years. For the later
+editions of many of the prints designed by Harunobu changes were made in
+the blocks, and the number was sometimes increased and sometimes
+decreased. After his death re-engravings of a number of his prints appear
+to have been made, as well as forged works in imitation of his style to
+which his name was attached.
+
+Most of the prints were sold at the time of publication for a few sen. The
+finer ones brought relatively higher prices, and such prints as the great
+triptychs and still larger compositions by Kiyonaga, Eishi, Toyokuni,
+Utamaro, and other leading artists could never have been very cheap. In
+general, however, the price was small and they were regarded as ephemeral
+things. Many were used to ornament the small screens that served to
+protect kitchen fires from the wind, and in this use were inevitably
+soiled and browned by smoke. Others, made into kakemono or mounted upon
+the sliding partitions of the houses, perished in the fires by which
+Japanese cities have been devastated; or, if in houses that chanced safely
+to run the gauntlet of fires, typhoons, cloudbursts, and other mishaps,
+their colours faded and their surfaces were rubbed until little more than
+dim outlines were left. These lost prints include a very large proportion
+of those that were most beautiful, and especially of those having
+inoffensive subjects.
+
+Fortunately, though the upper classes did not consider the prints as works
+of art, that did not prevent them from buying them for the entertainment
+they afforded. The samurai, though they considered it degrading to take
+part in the amusements of the lower classes and affected to despise the
+vulgarity of the theatre, sometimes attended the performances in disguise.
+And when they returned to their home provinces with their feudal lords
+after the six months of every year spent in the capital, they usually
+carried with them large quantities of prints. Country people visiting Yedo
+rarely returned without taking many of these cheap souvenirs of the city
+to distribute among their neighbours. Of course many were destroyed, but
+the Japanese have always been accustomed to take care of their
+possessions, and so many thousands of prints were neatly packed away in
+boxes and placed in the kuras, or fireproof storehouses. There they were
+often spoiled by mildew, the dread foe of the Japanese housewife, and
+eaten by insects. Those pasted in albums, as were many of the noted series
+by Hokusai and Hiroshige, fared better than the loose ones.
+
+                    [HARUNOBU.  Woman reading Letter.]
+
+                     HARUNOBU.  Woman reading Letter.
+
+
+Thus it has come about that in spite of the enormous number printed,
+really choice specimens are very rare. Of many of the most important only
+two or three copies in good condition are known. Even at the time of their
+issue the number of those in what may be called the "proof" state could
+not have been large. The best printing, as has already been pointed out,
+was not only difficult and relatively expensive--perhaps prohibitively
+expensive in many instances except for a small number of impressions--but
+when the blocks had worn so that the edges of the finest lines had lost
+their sharpness, it was quite impossible. Collections of prints were
+rarely made. Literary men often saved such as were inscribed with odes of
+especial merit, or had recondite meanings that appealed to them, and to
+their care we are indebted for the preservation of the majority of those
+that have survived in perfect or nearly perfect condition.
+
+For those who have learned the elements of their language the charm of the
+prints is very great. I should perhaps say the charm of some of the prints
+is very great; for, as we learn what we ought to admire, we learn to
+discriminate, at first between the works of the different artists, then
+between different works by the same artist, and finally between different
+copies of the same work. The truth is that the prints are only in a remote
+sense to be spoken of as reproductions. Each impression is more or less an
+individual work of art; the difference in quality between one and another
+is often astonishingly wide.
+
+In conclusion it may be well to specify briefly some of the qualities in
+the prints that appeal to people of taste. In the first place, there is
+the compelling charm of colour. Equally notable are excellence of
+composition, grace, beauty, and sweep of line, distinctive character,
+daringness of conception, and perfect balance of both line and mass.
+Collectively the prints furnish the clearest exemplification of the basic
+principles of design that the world has to offer. Nowhere else can we find
+so much accomplished with simple means. Technically, also, they fulfil
+every requirement. Considered merely as wood-engravings, they are of the
+first order of excellence. Though the drawing is seldom scientifically
+accurate, it is, nevertheless, of exquisite refinement and subtlety. In
+short, the best prints are creative works of very high order which amply
+justify our admiration because of their intrinsic merit.
+
+             [KORYUSAI.  Musume leaping from Temple Balcony.]
+
+              KORYUSAI.  Musume leaping from Temple Balcony.
+
+
+
+
+
+CATALOGUE OF A LOAN COLLECTION OF JAPANESE COLOUR-PRINTS
+
+
+THE JAPAN SOCIETY OF NEW YORK
+
+
+FIFTH AVENUE BUILDING. APRIL 19 TO MAY 19, 1911
+
+
+
+
+INTRODUCTION
+
+
+The leading masters of the Ukiyoe school were a group of very great
+artists. The names of Kiyonaga, Harunobu, Okumura Masanobu, Utamaro,
+Hokusai, and Hiroshige belong in the category of those whose fame is
+world-wide.
+
+                        [SHUNSHO.  Woman in Red.]
+
+                         SHUNSHO.  Woman in Red.
+
+
+The finest of the colour-prints designed by these men and their
+fellow-artists are masterpieces of rare distinction. This does not mean
+that all of their works should be so classed. The method by which the
+prints were produced enabled the artists to turn them out rapidly, and
+many were made that were trivial in character. They served almost as many
+purposes in their time as engravings, etchings, lithographs, and the
+photographic process reproductions do with us to-day. Naturally they
+varied widely in merit and in quality. Many have been preserved, but the
+important prints by the greater artists are unfortunately very rare; few
+of them have survived the vicissitudes of time, and fewer still in good
+condition.
+
+The inception of the Ukiyoe school dates back to the early years of the
+seventeenth century, when a painter named Iwasa Matahei, departing from
+the traditional subjects of the painters of the classic schools, made
+pictures of dancing-girls and scenes of every-day life. The first prints
+were made about 1660 by Hishikawa Moronobu and were in simple black
+outline. They were sometimes coloured by hand with a few touches of colour
+roughly laid on, probably by the publisher's assistants.
+
+In the early years of the seventeenth century a style of colouring known
+as _tan-ye_ (from the predominant use of a red-lead pigment known as tan)
+came into vogue. A little later prints were sold with more elaborate
+hand-colouring. Lacquer was mixed with the pigments to give them
+brilliancy, and the prints were known as _urushi-ye,_ or lacquer prints.
+In or about the year 1742 Okumura Masanobu began to make the first true
+colour-prints. For these he used only two colours, green and a soft red
+called _beni,_ and the prints were known as _beni-ye._ For some years
+difficulties connected with the printing prevented the use of more than
+two colour-blocks, and not until 1764 was a method discovered which made
+it possible to use as many blocks as might be required. Suzuki Harunobu
+was the first artist to take advantage of the discovery. The prints
+designed by him during the next six years are among the finest works of
+the school. Under his guidance and that of Katsukawa Shunsho, the art of
+colour-printing was brought to perfection. Then followed a period when
+many prints of precious quality were produced. The culmination was reached
+during the seventeen hundred and eighties, when Torii Kiyonaga turned out
+his marvellous single sheets, diptychs, and triptychs.
+
+Many splendid prints were designed in the next decade. It was then that
+Eishi made his delightful triptychs, that Sharaku stirred the people of
+Yedo with his wonderful caricature portraits of popular actors, and that
+Utamaro gained wide fame by the products of his facile brush. It was,
+however, a period of decadence, and by the end of the century a
+considerable distance had been travelled upon the downward path.
+
+The prints made in the nineteenth century were, for the most part, coarse
+and gaudy, the chief exceptions being those designed by Hokusai and
+Hiroshige. These men, though classed as of the Ukiyoe school, in reality
+represent what may more properly be termed another "movement" growing out
+of, but distinct from, the Ukiyoe art that reached its apogee under
+Kiyonaga.
+
+While the present exhibition includes specimens of most of the different
+kinds of prints--some of them, more especially the earlier ones, of extreme
+rarity--historical completeness has not been attempted. The aim has been
+rather to show such prints of exceptional quality and beauty as are
+available in New York.
+
+                                                       FREDERICK W. GOOKIN
+
+
+
+
+CATALOGUE
+
+
+
+                            HISHIKAWA MORONOBU
+
+
+Moronobu, who was born probably in 1625 and died in 1695, was the first
+important Japanese artist to design prints. As a painter he is highly
+renowned. He illustrated many books and made a considerable number of
+single-sheet prints, which were all either in plain black or coloured by
+hand. His works are now very rare.(6)
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_    1 Large sumi-ye (ink print)._ Matsukaze-Murasame; a nobleman and two
+      ladies at the seashore watching two women dipping salt water in
+      buckets.
+_    2 Sumi-ye._ A man and a woman seated on the floor of a room.
+_    3 Sumi-ye._ Woman reading from a book to a man reclining on the floor
+      by her side. Near them a maid-servant and utensils containing
+      refreshments.
+
+
+LENT BY A COLLECTOR
+
+
+_    4 Sumi-ye._ Scene in the Yoshiwara.
+
+
+
+                              TORII KIYONOBU
+
+
+Founder of the Torii line and one of the leading artists of the Ukiyoe
+school. Inventor of the tan-ye, or prints coloured by hand with red lead
+(Japanese _tan)_. He was born in 1664 and died on August 22, 1729. His
+style of drawing was characterized by great boldness and vigour.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_    5 Large tan-ye._ The actor Dekijima Hanya as a woman seated upon a
+      sakura tree in bloom.
+_    6 Small tan-ye._ The actor Ikushima Daikichi as a woman holding two
+      small dogs.
+_    7 Small tan-ye._ The actor Kamimura Kichisaburo as a dancing-girl.
+_    8 Large hand-coloured print._ The actor Ikushima Daikichi as an oiran
+      on parade, followed by OItani Hiroji as a servant holding an
+      umbrella over her.
+_    9 Tall hand-coloured print._ The actor Bando Hikosaburo.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+_   10 Urushi-ye._ Ichikawa Monnosuke as a strolling player carrying a
+      monkey on his back.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+_   11 Urushi-ye._ The elopement of Yaoya Hanbei and O-Chiya.
+
+
+LENT BY A COLLECTOR.
+
+
+_   12 Urushi-ye._ A dancing-girl.
+
+
+
+                              TORII KIYOMASU
+
+
+Eldest son of Kiyonobu, whom he succeeded as the head of the Torii line.
+His work closely resembles that of his father. He was born about 1685 and
+died on January 2, 1764.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+                 [KIYONAGA.  Holiday Group at Gotenyama.]
+
+                  KIYONAGA.  Holiday Group at Gotenyama.
+
+
+_   13 Large sumi-ye._ An actors' boating party on the Sumidagawa.
+_   14 Large tan-ye._ The actors Yoshizawa Ayame and Kanto Koroku.
+_   15 Large tan-ye._ The actors Kanto Koroku and Ikushima Daikichi.
+_   16 Large beni-ye._ Ichikawa DanjuIroI as an enraged warrior.
+_   17 Beni-ye._ Onoe KikugoroI in a female role.
+_   18 Beni-ye._ Scene from a drama. The actors Tomazawa SaijiroI (on
+      horseback), OItani Hiroji, and Segawa KikunojoI. The beni has turned
+      to a low-toned yellow.
+_   19 Urushi-ye._ Scene from a drama. OItani Oniji (on horseback)
+      threatening Sannogawa Ichimatsu in the role of a woman who has
+      seized his bridle rein.
+_   20 Beni-ye._ Scene from a drama. Sawamura SojuIroI as Sasaki no
+      SaburoI and Nakamura TomijuIroI as Mago no Koroku.
+
+
+
+                            FURUYAMA MOROMASA
+
+
+Pupil, and perhaps the son, of Moronobu. He devoted himself chiefly to
+painting, but designed a few prints, most of which are ukiye, or
+perspective pictures, in the style of Okumura Masanobu.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_   21 Large hand-coloured ukiye, or perspective print._ A game of ken in
+      a room in a nobleman's house.
+
+
+
+                             OKUMURA MASANOBU
+
+
+One of the most eminent of the Ukiyoe artists. His drawings were greatly
+admired for their rare combination of force and refinement, and he
+exercised wide influence over his contemporaries and successors to the end
+of the eighteenth century. He was the first artist to use blocks from
+which prints were coloured in flat tints. These were printed in the red
+known as beni, green, and black, and were known as beni-ye. He was also
+the first artist to make the tall, narrow pillar prints (ha-shira-ye), and
+was the inventor of the perspective prints which he called _ukiye._ His
+true name was Okumura Genpachi, and he was commonly known as honya
+(bookseller) Genpachi, from the fact that he was the proprietor of a
+wholesale and retail book and print shop at the sign of the "red gourd" in
+Tori-shio choI, Yedo.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_   22 Large sumi-ye._ Woman seated by a writing-table, reading a book.
+_   23 Urushi-ye._ Bando Hikosaburo as a warrior resisting the opening of
+      a castle door.
+_   24 Tall beni-ye._ A geisha playing upon a samisen.
+_   25 Large sumi-ye._ A woman with a pet cat watching a man dip water
+      from a chozubachi.
+
+
+LENT BY A COLLECTOR
+
+
+_   26 Large beni-ye._ Segawa KikunojoI as an oiran lighting her pipe at a
+      hibachi in the hands of her kamuro, and Sannogawa Ichimatsu as a man
+      holding an umbrella over her.
+_   27 Undivided beni-ye triptych._ Street scene. A boy kneeling to put on
+      a woman's geta; a man playing upon a shakuhachi; and another man
+      carrying an umbrella.
+_   28 Undivided triptych._ Three women carrying umbrellas.
+
+
+
+                            OKUMURA TOSHINOBU
+
+
+Toshinobu, the son of Masanobu, was an artist of decided talent who died
+young. His known works, which resemble those of his father, are all
+urushi-ye, and were designed about 1730-1736.
+
+
+LENT BY A COLLECTOR
+
+
+   29 Ichimura Uzaemon as a dancing-girl.
+   30 Woman dressing.
+   31 Sanjo KentaroI in a female role.
+
+
+
+                           TSUNEKAWA SHIGENOBU
+
+
+An early Ukiyoe artist of whom little is known. His prints are extremely
+rare.
+
+
+LENT BY A COLLECTOR
+
+
+_   32 Urushi-ye._ Arashi Wakano in the role of Shida no KotaroI.
+
+
+
+                           NISHIMURA SHIGENAGA
+
+
+Son of Shigenobu. Born in 1697 and died in 1756. An artist of ability who
+exercised marked influence upon the development of the school. His prints
+are very uneven in quality.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_   33 Tall hand-coloured print._ The actor Sannogawa Ichimatsu as a woman
+      holding a folded letter.
+
+
+LENT BY A COLLECTOR
+
+
+_   34 Urushi-ye._ Segawa Kikunojo as a woman holding a warrior's helmet.
+_   35 Beni-ye._ Procession of the Corean ambassadors.
+
+
+
+                            ISHIKAWA TOYONOBU
+
+
+One of the most important of the Ukiyoe masters. Born in 1711, died in
+1785. Pupil of Shigenaga, and probably of Masanobu whose style he closely
+assimilated.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_   36 Large beni-ye._ The actors Segawa Kikunojo and Sannogawa Ichimatsu.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+_   37 Wide print from three colour-blocks._ Women and children at the
+      seashore.
+
+
+LENT BY A COLLECTOR.
+
+
+_   38 Tall hand-coloured print._ Segawa KikunojoI as a woman reading a
+      letter.
+_   39 Two sheets from a beni-ye triptych._ Musume carrying umbrellas.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+_   40 Beni-ye._ Mother and son.
+_   41 Print from three colour-blocks._ Boys rolling a large snowball.
+_   42 Print from three colour-blocks._ Man struggling with a refractory
+      umbrella; a woman looking on.
+
+
+
+                              TORII KIYOHIRO
+
+
+                        [KIYONAGA. Picnic Party.]
+
+                         KIYONAGA. Picnic Party.
+
+
+Pupil of Kiyomasu. His known works are exclusively beni-ye, executed from
+about 1745 to about 1755.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+_   43 Beni-ye._ Nakamura HatsugoroI as Sakura no Suke.
+
+
+
+                               TORII SHIRO
+
+
+Known as Kiyonobu the second, all of his prints being signed Torii
+Kiyonobu. He was the eldest son of Kiyomasu. Worked from about 1740 to
+about 1755, when it is probable that his death occurred. Some of the most
+charming of the beni-ye prints are from his hand.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+_   44 Beni-ye._ Yamamoto IwanojoI as a woman dancing by a fox-trap in a
+      rice field under a blossoming cherry tree.
+
+
+
+TORII KIYOMITSU
+
+
+Second son of Kiyomasu, whom he succeeded as the head of the Torii line.
+An artist of distinction. Was the first to add a third colour-block to the
+original two. He was born in 1735 and died in 1785. After 1765 he designed
+only a few prints, and appears to have designed none later than about
+1768.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_   45 Wide print from three colour-blocks._ The NoI performance of
+      "Musume DoIjoIji."
+_   46 Wide print from three colour-blocks._ Daimyo procession game by
+      women and children.
+_   47 Print from three colour-blocks._ Iwai HanshiroI as a woman reading
+      a letter while seated upon a carabao.
+_   48 Beni-ye._ Scene from a drama. Ichimura KamezoI (standing) as Wakemi
+      GoroI and Nakamura TomijuIroI as Akoya.
+
+
+
+                             SUZUKI HARUNOBU
+
+
+The central figure in Ukiyoe and the eminent master under whose hand the
+art of colour-printing was brought to perfection in the sixties of the
+eighteenth century. He was a draughtsman of extreme elegance and power,
+and his works have a charm that is peculiarly their own. He died on July
+7, 1770, when, says Shiba Kokan in his book "Kokan Kokai-ki," he "had
+hardly passed his fortieth year."
+
+
+LENT BY SAMUAL ISHAM.
+
+
+   49 Girl attendant in an archery gallery gathering up arrows. One sheet
+      of a diptych.
+   50 A young woman showing a caged bird to a young man seated before her,
+      and surreptitiously taking a love letter from him.
+   51 A vendor of fan mounts stopping to talk to a young woman standing in
+      front of a shop.
+_   52 Hashira-ye._ Woman writing a love letter.
+_   53 Hashira-ye._ Woman holding a pet dog.
+   54 Burlesque scene. Girls carrying Daikoku (the genius of wealth--one of
+      the "Seven Fortune-beings").
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+   55 Girls carrying Daikoku. A later impression with different colouring.
+   56 An archer and two girls near a screen. Calendar for 1765.
+   57 Young woman before a torii, carrying a hammer and nails with which
+      to perform an incantation.
+   58 Two young women on their way to the public bath-house through a
+      storm of snow and rain.
+   59 Two girls on a terrace near a torii, in the time of the
+      cherry-blossoming.
+   60 Two girls gathering mume flowers from a tree overhanging a wall.
+   61 Woman reading a letter by the light of an andon (portable lamp with
+      wind screen) which another woman is trimming.
+   62 Geisha and a young girl standing on the bank near the rapids of the
+      Tamagawa.
+   63 Young woman seated in a window, conversing with another young woman
+      seated on the floor and holding a picture-book.
+   64 Young man removing snow from the geta of a young woman.
+   65 Woman lying upon the floor of a room, reading a book, and another
+      woman standing beside her, holding a pipe.
+   66 Young woman seated on a veranda after her bath, having her back
+      massaged by her maid.
+   67 Young man talking to a girl through the bars of a window.
+   68 A burlesque apparition of Fugen. Instead of the Buddhist divinity, a
+      young woman seated on an elephant appears on a cloud before a priest
+      kneeling in prayer.
+   69 Lovers walking in the snow under an umbrella. One of Harunobu's most
+      distinguished prints.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+   70 The Sleeping Elder Sister. First state. Early impression signed by
+      the printer, Kyosen.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+   71 The Sleeping Elder Sister. Second state. Changes made in the blocks
+      and colouring.
+
+
+LENT BY A COLLECTOR.
+
+
+   72 The Sleeping Elder Sister. Still later impression. Colouring changed
+      again, and the number of blocks increased from ten to thirteen.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+   73 The Hole in the Wall.
+   74 Mother holding her infant son.
+   75 At the entrance gate.
+   76 Mother taking her infant son from another woman and handing her a
+      letter.
+   77 Lovers in a palace.
+
+
+LENT BY A COLLECTOR.
+
+
+   78 Musume walking up a flight of steps leading to a temple.
+   79 Lovers playing battledore and shuttlecock; the young man climbing a
+      ladder to disengage the shuttlecock caught upon the branch of a mume
+      tree.
+_   80 Hashira-ye._ Woman in night attire standing by her bedside reading
+      a letter.
+
+
+
+                               SHIBA KOKAN
+
+
+An artist who is best known as a clever imitator of his master, Harunobu,
+whose signature he forged upon a number of prints. He also used the "goI,"
+or studio name, Harushige in signing prints in the Harunobu manner. In
+later years he painted pictures in semi-European style, and made
+copper-plate engravings which were coloured by hand. He was born in 1747
+and died in 1818.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+   81 The courtyard of a house in the Yoshiwara. A woman reading a letter
+      and a girl attendant standing beside her holding a tray. Signed
+      Harunobu.
+
+
+
+                                SHOSHOKEN
+
+
+This is the pseudonym of an artist of distinction whose identity has not
+been determined. His known works are calendar prints for 1765.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+   82 Stout lady crossing a room in a palace supported by two attendants.
+      The use of gold leaf is notable.
+
+
+
+                             KITAO SHIGEMASA
+
+
+One of the noted artists of the school. Was famous for his skill as a
+calligrapher, being reputed to have no superior in his day in either of
+the "three capitals," Yedo, Kyoto, or Osaka. His prints, which are rare,
+are generally of much distinction. He was born in 1740, and died in the
+second month of Bunsei 3 (February or March, 1820).
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+   83 Children's puppet show.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+_   84 Beni-ye._ Segawa KikunojoI and Ichimura Uzaemon as Izumo no Okuni
+      and Nagoya Sanza, two komuso, playing upon shaku-hachi.
+
+
+LENT BY A COLLECTOR.
+
+
+   85 Two geishas.
+
+
+
+                              ISODA KORYUSAI
+
+
+The most important pupil of Harunobu, whose style he followed closely in
+his early works. Later he developed a manner of his own. As a designer of
+pillar prints and of prints of birds, he was especially successful. He was
+a samurai and associated with samurai of the superior class. The director
+of the mint was one of his most intimate friends and patrons. About 1781
+he gave up print-designing, devoted himself to painting, and was given the
+honorary title of Hokyo. The dates of his birth and death are not known.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+_   86 Hashira-ye._ Musume leaping from the balcony of Kiyomidzu temple
+      with an umbrella as a parachute.
+   87 Woman standing on the engawa of a house, admiring snow-laden bamboo
+      branches; back of her, a girl and a young boy looking through a
+      window.
+   88 A Yoshiwara beauty arranging flowers; two girl attendants looking
+      on.
+
+
+LENT BY A COLLECTOR.
+
+
+_   89 Hashira-ye._ Musume carrying her infant brother.
+_   90 Hashira-ye._ Young woman poling a boat in a lily-pond.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+   91 A Yoshiwara beauty on parade, attended by a girl and a boy.
+_   92 Hashira-ye._ The bijin JuroIjin. A young woman is represented in
+      place of the long-life being whose attributes are a crane and a
+      tortoise.
+
+
+
+                            KATSUKAWA SHUNSHO
+
+
+A contemporary of Harunobu and one of the greatest of the Ukiyoe artists.
+He was highly renowned in his day and had many pupils who became famous.
+Most of his prints were portraits of actors in character. He was born in
+1726 and died on January 22, 1793.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+   93 Segawa Kikunojo as a woman holding a red fan.
+   94 Two actors in character. The seated figure is DanjuIroI, the leading
+      "star" of the Yedo stage.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+   95 Actor in a female role.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+   96 Iwai HanshiroI as a woman standing and holding a fan behind her.
+   97 Yamashita Kinsaku in a female role.
+   98 Actor of the Ichikawa line in the role of Shibaraku at the Ichimura
+      theatre.
+   99 OItani Hiroji as an Amazake vendor.
+_  100 Hashira-ye._ Nobleman carrying a court lady on his back. Probably a
+      parody upon the suicide of Ohan and Choyaemon.
+_  101 Wide hashira-ye._ The Woman in Red.
+
+
+
+                            IPPITSUSAI BUNCHOI
+
+
+An artist of samurai rank who, for a few years, designed actor prints in
+the manner of Shunsho, which have great distinction of style and colour.
+He was celebrated also as a writer of comic odes. He died on May 18, 1796.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+                [BUNCHO.  Actor as Woman talking to Men.]
+
+                 BUNCHO.  Actor as Woman talking to Men.
+
+
+  102 Bando Hikosaburo as a woman of the Yoshiwara talking to a group of
+      men through the mise.
+  103 Nakamura TomijuIroI as Josan no Miya.
+
+            [KIYONAGA. Man and two Women approaching Temple.]
+
+             KIYONAGA. Man and two Women approaching Temple.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+  104 A Yoshiwara beauty accompanied by her kamuro (girl attendant)
+      bearing a cage of fireflies.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  105 Ichikawa KorazoI as a man carrying an actor's dressing-case.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+  106 Scene from a drama. Yamashita Kinsaku as a woman holding a roll of
+      paper, conversing with Ichikawa KomazoI, who holds a letter in his
+      hand.
+
+
+
+                            KATSUKAWA SHUNKOI
+
+
+Pupil of Shunsho and generally regarded as his most talented follower. His
+career as a print-designer was cut short by a stroke of paralysis when he
+was in his forty-fifth or forty-sixth year, but he lived for about forty
+years thereafter as a recluse at Zenfukuji temple, Azabu, Yedo, where he
+died in 1827.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+  107 Iwai Hanshiro in a female role.
+  108 The actor Ichikawa Monnosuke.
+  109 Nakamura TomijuIroI as a tsuzumi player.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  110 Arashi Tatsuzo as a woman flower-vendor.
+
+
+
+                            KATSUKAWA SHUNYEI
+
+
+Pupil of ShunshoI and an artist of ability. At first, for a short time, he
+called himself ShunjoI. He was born in 1767, and died on December 13,
+1819.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+  111 A bijin.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  112 Ichikawa Monnosuke in a female role.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+  113 Scene from the tenth act of "Chushingura."
+  114 Ichikawa KomazoI.
+
+
+
+                             UTAGAWA TOYOHARU
+
+
+Pupil of Toyonobu. As a painter his reputation is justly high. He did not
+design many prints. He was born in 1735 and died on March 3, 1814.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+  114 Cock, hen and chickens.
+
+
+
+                              TORII KIYONAGA
+
+
+Everything considered, the greatest artist of the Ukiyoe school and the
+culminating figure in its forward movement. He was born in 1742 and died
+in 1815. His finest prints were designed between 1780 and 1790.
+
+
+LENT BY SAMUEL ISHAM.
+
+
+  116 The Writing-lesson.
+  117 Fair travellers resting on a bench by the roadside.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+  118 Two geishas entertaining a young man.
+  119 Court ladies on the engawa of a palace.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  120 Three girls going to the baths at the hot springs near Miyanoshita.
+  121 Man and two women masquerading in komusoI attire.
+  122 Group of three women and a boy.
+  123 Two women standing beside a seated geisha who is playing on a
+      samisen.
+  124 Yoshiwara beauty attended by two women (shinzo) and two girls
+      (kamuro).
+  125 Two young women and a servant on the balcony of an inn.
+  126 Family group on their way to a temple for the naming ceremony of the
+      boy who is carried on the shoulders of an attendant.
+  127 An actor and two women examining utensils for the tea ceremony.
+  128 Women and children promenading in summer costume.
+  129 Scene from a drama. Two actors playing the game of "go" with mume
+      blossoms, and a third actor as a woman in the role of an umpire
+      standing between them.
+  130 Two young women walking under an umbrella and followed by a servant.
+  131 Man in a black haori approaching a temple through the snow,
+      accompanied by two women.
+_  132 Diptych._ Group of women under a cherry tree.
+_  133 Diptych._ Holiday group under the cherry trees at Gotenyama. One of
+      a series of twelve diptychs that are among Kiyonaga's finest works.
+  134 Boating party under Ryogoku bridge. Two sheets of a triptych.
+_  135 Triptych._ The Peony (botan) Show.
+_  136 Triptych._ Women landing from a pleasure boat.
+
+
+LENT BY A COLLECTOR.
+
+
+_  137 Hashira-ye._ Woman in winter costume.
+_  138 Triptych._ A picnic party under the cherry trees.
+  139 Group of women on the bank of the Sumida river.
+  140 Group of women near a temple.
+  141 Three women at a public bath-house.
+
+
+
+                            KATSUKAWA SHUNCHO
+
+
+Pupil of ShunshoI. Followed the style of Torii Kiyonaga. His works closely
+resemble those of the Torii master, but have less force. Worked from about
+1775 to about 1795. In some of his later prints he imitated Eishi's prints
+in the Utamaro manner. The dates of his birth and death are not known.
+
+
+LENT BY SAMUAL ISHAM.
+
+
+  142 One sheet of a triptych showing a nobleman's mansion from the
+      garden, with the people engaged in various occupations.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  143 Women watching girls bouncing balls.
+_  144 Diptych._ Group at the entrance to a temple.
+  145 Three women in a temple compound.
+
+             [SHUNCHO.  Women watching Girls bouncing Balls.]
+
+              SHUNCHO.  Women watching Girls bouncing Balls.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+  146 Group of girls at a tea booth by the seashore.
+
+
+LENT BY A COLLECTOR.
+
+
+  147 A picnic party. Two sheets of a triptych.
+  148 Women picking wild flowers under a cherry tree in bloom.
+
+
+
+                               HOSODA EISHI
+
+
+One of the foremost artists of the school. He was a samurai of high rank,
+and a pupil of Kano Eisen. For three years before he took to Ukiyoe he
+held an official post in the household of the shogun Iyeharu. Eishi was a
+master of all the resources of the art of colour-printing and his prints
+are characterized by great elegance and refinement. He worked from about
+1782 to 1800, when he gave up print-designing. He died in 1829.
+
+
+LENT BY SAMUAL ISHAM.
+
+
+_  149 Triptych._ Eight women and a man playing the game of "Catch the
+      fox."
+  150 Group of Yoshiwara women and attendants.
+  151 Someyama and her kamuro playing with a pet dog.
+  152 Yoshiwara women admiring a branch of mume tree with unopened flower
+      buds.
+_  153 Triptych._ Fete in a nobleman's palace. Ladies composing poems.
+
+                  [EISHI. Fete in a nobleman's palace.]
+
+                   EISHI. Fete in a nobleman's palace.
+
+
+LENT BY MRS. WILLIAM BENJAMIN WOOD.
+
+
+  154 Another copy of the foregoing triptych. Shows how beautifully the
+      purple changes by chemical decomposition.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  155 Oiran and attendants on parade.
+
+
+LENT BY A COLLECTOR.
+
+
+  156 A Yoshiwara beauty. Ink proof of the key block.
+  157 Two women entering a room in the palace of Prince Genji, where a
+      young girl is seated playing with a kitten.
+
+
+
+                             YEISHOSAI CHOKI
+
+
+An artist of ability, though not quite of the first rank. His prints are
+rare. He worked at first in the style of Kiyonaga. Later he imitated
+Utamaro, and changed his "goI," or studio name, to Momokawa Shiko.
+
+
+LENT BY A COLLECTOR.
+
+
+  158 Woman and child catching fireflies.
+
+
+
+                             TOSHUSAI SHARAKU
+
+
+This artist was by profession a performer of the stately and aristocratic
+No dramas in the service of Hachisuka, Daimyo of Awa. During the period
+from about 1790 to 1795 he designed a small number of caricature portraits
+of actors, which have great force and distinguished character.
+
+
+LENT BY YAMANAKA & COMPANY.
+
+
+  159 The actor(7) Tanimura TorazoI in the role of Kakogawa HonzoI.
+  160 Ichikawa EbizoI in the role of Ko no Moronao. This print bears an
+      inscription, probably contemporary, giving the date 1794.
+  161 Onoe Matsusuke as one of the Loyal Ronin.
+  162 Rando HikosaburoI in the role of Yuranosuke.
+  163 Iwai HanshiroI in the role of Oishi, wife of Yuranosuke.
+  164 Ichikawa Monnosuke as one of the Loyal Ronin.
+  165 Morita Kanya as one of the Loyal Ronin.
+  166 Segawa TominojoI in the role of Kaoyo Gozen, wife of Yenya.
+  167 Sawamura SojuIroI in the role of Yenya Hanguwan.
+  168 Arashi TatsuzoI in the role of Yoichibei.
+  169 Sakata HangoroI as Ten-ichi-boI Hotaku.
+  170 Segawa TominojoI and Nakamura ManjuIroI in female roles.
+  171 Nakajima Utaemon and Nakamura KonozoI.
+  172 Ichikawa OmezoI in the role of Sukeroku.
+  173 Matsumoto KoshiroI in the role of the otokadate Banzuin Chobei. This
+      print is commonly known as "The man with the pipe."
+  174 Matsumoto YonesaburoI in the role of Okaru, wife of Kampei.
+  175 Ichikawa YaozoI in the role of Hayano Kampei.
+  176 Kosagawa TsuneyoI in the role of Tonase, wife of Kakogawa HonzoI.
+  177 OItani Oniji in the role of Sadakuro.
+  178 Sannogawa Ichimatsu in a female role.
+ 178a Nakayama TomisaburoI in the role of Komurasaki, and Ichikawa KomazoI
+      as her lover, Shirai Gompachi, walking with her under a huge
+      umbrella.
+
+                          [SHARAKU. Two Actors.]
+
+                           SHARAKU. Two Actors.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
+
+
+  179 Segawa TominojoI.
+
+
+
+                             KITAGAWA UTAMARO
+
+
+One of the most gifted and most widely known of the Ukiyoe masters.
+Extraordinarily facile and brilliant. Born in 1753 and died in 1806.
+
+
+LENT BY SAMUAL ISHAM.
+
+
+_  180 Triptych._ Imaginative view of a fete in a Chinese palace. It is a
+      medley of Chinese and Japanese details intended as a take-off upon
+      the treatment of Chinese subjects by the painters of the classic
+      schools.
+  181 The hour of the Boar (9 to 12 P.M.). One of a set illustrating the
+      twelve hours into which the Japanese day is divided.
+_  182 Diptych._ Women in a nobleman's palace, painting kakemono.
+  183 Yoshiwara beauties on parade.
+ 183a A sheet from the "Washing day" triptych.
+  184 Woman helping a man attire himself in ceremonial dress.
+  185 Woman bending over to see a baby which another woman is nursing
+      while seated before a mirror, arranging her hair.
+  186 Woman talking to a fan-mount vendor.
+_  187 Triptych._ The persimmon-gatherers.
+_  188 Triptych._ Procession of a noble lady and women attendants on their
+      way to a temple, bearing offerings.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+_  189 Triptych._ Shadows on the shoji. Illustrations of three effects of
+      sake (rice wine).
+  190 Woman arranging flowers.
+  191 The kitchen. One sheet of a diptych.
+  192 A night excursion. One of Utamaro's most famous prints.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+  193 Hairdresser combing a girl's hair.
+  194 Woman with a young boy on her back, watching three puppies at play.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+  195 Kitao Masanobu drunk with sake at a fete in a daimyo's palace. Part
+      of a triptych.
+
+
+LENT BY A COLLECTOR
+
+
+  196 Woman wearing a black zukin, and a maid bearing a lantern.
+  197 Woman standing on a pier, holding an umbrella, and conversing with a
+      man seated under the canopy of a boat.
+  198 Woman bearing a teacup on a lacquer stand.
+  199 Woman raising the mosquito netting over her bed to read a letter by
+      the light of an andon.
+  200 Three performers in a niwaka, or burlesque theatrical procession, in
+      the streets of the Yoshiwara.
+  201 Woman holding in her mouth a "pokan-pokan"--a musical toy of thin
+      glass which makes a peculiar sound when air is blown through it.
+_  202 Triptych._ Boating party.
+_  203 Triptych._ The awabe divers of Ise.
+_  204 Triptych._ Women and children on a bridge.
+
+                   [UTAMARO. Woman with a Musical Toy.]
+
+                    UTAMARO. Woman with a Musical Toy.
+
+
+
+                             UTAGAWA TOYOKUNI
+
+
+A brilliant artist of high repute in his day. Some of his prints,
+especially the earlier ones, are of distinguished quality. He was born in
+1769 and died on February 24, 1825.
+
+
+LENT BY A HAMILTON EASTER FIELD.
+
+
+_  205 Triptych._ Street scene in the Yoshiwara.
+  206 Large head of an actor.
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+  207 The actor Koraiya.
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  208 Musume raising a large umbrella.
+_  209 Triptych._ Women in a public bath-house.
+
+
+LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
+
+
+_  210 Triptych._ The Six Tamagawa, represented by six women washing
+      strips of cloth in a rapid-flowing stream.
+
+
+LENT BY A COLLECTOR
+
+
+  211 Woman accompanied by a maid carrying a lantern.
+_  212 Triptych._ Lady emerging from a kago; her attendants grouped about
+      her.
+
+                    [TOYOKUNI.  Women in Bath House.]
+
+                     TOYOKUNI.  Women in Bath House.
+
+
+
+                            KATSUSHIKA HOKUSAI
+
+
+A master of extraordinary versatility and power. Perhaps the most widely
+known of all the Japanese artists. He was born in 1760 and died in the
+spring of 1849.
+
+  213 Winter landscape.
+  214 Cranes on a snow-laden pine tree.
+  215 Iris.
+  216 Turtles swimming.
+
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+  217 Fuji san seen beneath a wave of the sea at Kanazawa. Hokusai's
+      famous "wave."
+
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  218 View of Fuji from Ushibori; a large boat moored in the foreground.
+
+                     [HOKUSAI.  Fuji from Ushibori.]
+
+                      HOKUSAI.  Fuji from Ushibori.
+
+
+
+LENT BY A COLLECTOR
+
+
+  219 Winter landscape.
+
+
+
+
+                              ANDO HIROSHIGE
+
+
+The last great artist of the Ukiyoe school, and a consummate master of
+landscape art. Born in 1797 and died on October 12, 1858.
+
+
+
+LENT BY HAMILTON EASTER FIELD.
+
+
+  220 A cold morning at Shono, on the ToIkaidoI.
+  221 View of Fuji san from Goyo.
+  222 Pine trees on the shore at Hamamatsu.
+  223 Flying kites at Fukuroi.
+  224 The "fox fires" at OIji.
+  225 Kinryusan, Asakusa, in snow.
+  226 The fields back of Asakusa seen from a window through which a white
+      cat is looking out.
+  227 Travellers in snow at Ishiyakushi.
+
+                    [HIROSHIGE.  Pines at Hammamatsu.]
+
+                     HIROSHIGE.  Pines at Hammamatsu.
+
+
+
+                         LENT BY ALBERT GALLATIN.
+
+
+  228 Evening rain at Azumasha.
+
+
+
+LENT BY A COLLECTOR
+
+
+  229 Autumn moon over the river Tama.
+  230 The evening glow at Setta.
+  231 The crowd in Ni ChoI (Second Street) at night. At the right is the
+      Ichimura theatre, upon which and upon the tea-house across the way
+      are tall signs advertising plays and actors.
+  232 Aowi and bird.
+  233 Pheasant and young pine trees upon a steep hillside.
+  234 Raftsman on the Sumida river in a snow storm.
+
+
+
+LENT BY HOWARD MANSFIELD.
+
+
+  235 Shower at ShoIno.
+  236 GyoItoku; boats returning.
+
+
+
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK JAPANESE COLOUR-PRINTS AND THEIR DESIGNERS***
+
+
+
+CREDITS
+
+
+May 25, 2013
+
+            Project Gutenberg edition 10
+            Martin Schub
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