as a pure Ukiyoye artist; but, after all, I think that nobody will deny his rare and versatile talent. If only he had been born at the better and proper time! And if we must blame his degeneration, I think it is quite safe to say that the general public has to share equally in the criticism. He was an interesting personality, full of stories and anecdotes, which the English people would be glad to hear about when they are well acquainted with his work; but I will keep them for some other occasion, because I wish at present to introduce him simply through his work. Let it suffice to say that he was humane and lovable, having a great faith in his own class of people—that is, the plain street-dwellers; when I say he was, too, the artist or artizan of Tokyo or Yedo, like Utamaro, Hokusai, and Kuniyoshi, I mean that he was gallant and chivalrous, always a friend of the lowly, and a hater of sham.
He was born in 1839, to use the Japanese name of the era, the Tenth of Tempo, at Shiba of Yedo, present Tokyo. When a little boy, he was adopted by the family of Tsukioka; his own name was Yonejiro. Like other Japanese artists, he had quite many gago or noms de plume; to give a few of them, Ikkasai, Sokatei, Shiyei, and others. Although he did not change his dwelling-place as Hokusai did, he moved often from one house to another; it was at Miyanaga Cho of Hongo where he married Taiko. He bought a house at
