aspiration is never an accident, but the force which he cherished and has made grow.
Gaho's life of seventy-five years, which had closed in the month of January, 1907, can be divided into three periods. The first is that in which he was engaged in the pursuit of the ancient method by copying the models after the fashion of the Kano school; the second was that in which he slowly broke loose from the trammels of the Kano school, and ventured out to make a thorough exploration of the conspicuous features of various other schools; and the final was that in which he revaled himself nobly, with all the essence of art which he had earned from his tireless journey of previous days. In one word, he was the sum total of the best Japanese art. It is said that his long life was but one long day of study and work. He shut himself in his silent studio from early morning till evening, from evening till midnight, sitting before a piece of spread silk, with a Chinese brush in hand, as if before a Buddhistic altar where the holy candles burn. Now his research went deep in the Chinese schools of the ages of Sung, Yuen, and Ming, and then his thoughts lingered by the glimmer of the Higashiyama school's reminiscences. He confessed that he received no small influence from the Korin school, and I have more than one reason to believe that his knowledge of the Western art also was considerable. His catho-
