tures, whether of historical heroes or professional beauties, which were least affected by the so-called realism or Western perspectives and observed carefully the old Ukiyoye canons, limiting themselves in the most artistic shyness, would be only prized as adorning his name as the last master; for the ninety per cent. we have no grief for their hastening into blessed dusts. I have in my collection the three-sheet picture called "Imayo Genji," showing the view of Chigoga Fuchi at Yenoshima, with the romantic posture of four naked fisherwomen, which is dated very early in Yoshitoshi's artistic life, no doubt being the work of the time when he was still a home student at Kuniyoshi's studio or workshop; you can see the artist's allegiance to his teacher in those somewhat stooping woman figures; there is no mistake to say that Yoshitoshi, at least in this picture, had studied Hiroshige and Hokusai to advantage for the general effect of rocks and fantastic waves.
Although it is clear that it is not a specimen of his developed art, I have in mind to say that it will endure, perhaps as one of the best Ukiyoye pictures of all ages, through its youthful loyalty to the traditional old art and the painstaking composition for which the best work is always marked. How artistically troubled, even lost, are his later works, though once they were popular and even admired!
