THE DRAGON PAINTER
ture, he persisted. At first the lines of his brush were feeble. His work looked like that of a child.
Through subsequent days of discouragement and brave effort his power of painting grew with a slow but normal splendor of achievement. His fame began to spread. The "New Kano" and "The Dragon Painter of Kiu Shiu" the people of the city called him. Not only his work but his romantic, miserable story drew sympathy to him, and bade fair to make of him a popular idol. Older artists wished to paint his portrait. Print-makers hung about his house striving to catch at least a glimpse of him, which being elaborated, might serve as his likeness in the weekly supplement of some up-to-date newspaper. Sentimental maidens wrote poems to him, tied them with long, shining filaments of hair, and suspended them to the gate, or upon the bamboo hedges of the Kano home.
But against all these petty, personal an-
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