and lanterns, where, the story says, Utamaro had his nightly revel of youthful days as a fatal slave to female enchantment; while we do not know whether he revelled there or not, we know that as Yoshiwara of those times was the rendezvous of beauty, good looks, and song, not all physical, but quite spiritual, we can believe that he must have wandered there for his artistic development. Indeed there was his great art beautifully achieved when he suddenly entered into idealism or dream where sensuousness and spirituality find themselves to be blood brothers or sisters. In the long history of Japanese art we see the most interesting turn in the appearance of a new personality, that is the Ukiyoye woman; and who was the artist who perfected them to the art of arts? He was Utamaro. You may abuse and criticise, if you will, their unnaturally narrow squint eyes and egg-shaped smooth face; but from the mask his woman wears I am deliciously impressed with the strange yet familiar, old but new, artistic personality. The times change, and we are becoming more intellectual, as a consequence, physically ugly; is it too sweeping or one-sided to say that? I have, however, many reasons for my wishing to see more influence of Utamaro's art.
