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 CATALOGUE 
 
 PRINTS AND BOOKS 
 
 ILLUSTRATING THE HISTORY OF 
 
 ENGRAVING in JAPAN. 
 
 EXHIBITED IN i888. 
 
 PRINTED FOR THE BURLINGTON FINE ARTS CLUB. 
 
 1 888. 
 
HORACE W. CARPENTIER 
 
urlinjjton fint ^rts Cttib. 
 
 CATALOGUE 
 
 PRINTS AND BOOKS 
 
 ILLUSTRATING THE HISTORY OF 
 
 ENGRAVING in JAPAN 
 
 EXHIBITED IN 1888. 
 
 PRINTED FOR THE BURLINGTON FINE ARTS CLUB. 
 
 1888. 
 

 STEPHEN AUSTIN AND SONS, 
 
 PRINTERS, HERTFORD. 
 
 ^ (ZAJI^C-Ctjt^ 
 
LIST OF CONTRIBUTORS. 
 
 *Wm. Cleverley Alexander, Esq. 
 *WiLLiAM Anderson, Esq. 
 ♦George P. Boyce, Esq. 
 Frederick V. Dickins, Esq. 
 ♦Edward Dillon, Esq. 
 
 ♦Frank Dillon, Esq. 
 ♦Arthur Lucas, Esq. 
 
 Ernest Satow, Esq. 
 
 R. Phen6 Spiers, Esq. 
 ♦H. Virtue Tebbs, Esq. 
 
 Charles Holme, Esq. 
 
 ♦ The Contributors whose names are thus marked are Members of the Club. 
 
 2) 
 
 481361 
 
[In the Japanese words occurring in the Catalogue, the vowels are to be 
 pronounced as in Italian, the consonants as in English (^ being 
 always hard, as in g'et).] 
 
^^ 
 
 
 INTRODUCTION. 
 
 ^^^"^^HE Art of Engraving on Wood, as practised in Europe, has been 
 studied exhaustively in all its branches, but the xylography 
 of China and Japan, which, by superior antiquity, and perhaps 
 by direct parental relationship, is entitled to lead the way in any 
 historical discussion of the subject, has until recently been little more for 
 us than a dead letter. The aim of the present Exhibition is to show the 
 degree of excellence achieved by our Oriental brethren in an art that must 
 be regarded as their own, and at the same time to illustrate their success 
 in the application of the allied processes of Stencil Printing and Engraving 
 on Copper and Stone, which they have borrowed from ourselves. 
 
 It is well known that block printing was in use amongst the Chinese 
 many centuries before its adoption in Europe, and as the same mechanical 
 processes suffice for pictorial engraving, it might be inferred, and correctly, 
 that in this respect also we have been in the rear of the Middle Kingdom. 
 Not only was it so, but other Turanian nations, such as the Koreans and 
 Japanese, have been able to take advantage of the labours of their neigh- 
 bours to anticipate us in the possession of an agency that in our hands 
 has led the way to mighty strides of education. 
 
 The historical facts concerning Chinese, Korean, and Japanese printing 
 have already been set before us by Mr. Ernest Satow in the Transactions of 
 the Asiatic Society of Japan (vol. x.), and more recently by Prof. Douglas 
 in his " Guide to the Chinese and Japanese Typographical and Illustrated 
 Books " now on view in the King's Library. Referring to these for a mass 
 of curious information, it will be sufficient here to say that block printing 
 was invented in China not later than the 6th century of our era, thence 
 
 a 
 
 13 
 
"■ i "^ ,^ e'^' ,' ^'*'> f • 'i; "" *. 
 ' i< f r ' (• f' , f f » » « s«t * * * «(,«• 
 
 vi 
 
 passing into Korea and Japan ; and in three copies of a Buddhist Dharani 
 printed in the latter country before the end of the 8th century, and brought 
 to England by Mr. Satow, we have been placed in possession of what 
 appear to be the oldest specimens in existence of the art of Gutenberg and 
 Caxton. The examples of Korean printing are less ancient, but it may be 
 taken for granted that the Koreans learned the process before the Japanese, 
 and it is probable that they were the intermediaries through whom it passed 
 into Japan. 
 
 The history of pictorial engraving is more conjectural in its details. It 
 is obvious that the men who cut on wood the complex ideographs of the 
 Chinese would be able, when called upon, to engrave the outlines of a 
 drawing, and as pictorial art was at its highest point during the early ages 
 of printing, it can scarcely be doubted that the wood block was employed 
 for both purposes concurrently. We have, however, no absolute proof of 
 this. The oldest Chinese pictorial engraving extant is perhaps that now 
 exhibited (No. 427), which bears the date of 1331 ; and although there are 
 many Japanese wood cuts of similar character to which a more ancient period 
 is assigned, there are but few whose pretensions will bear scrutiny.^ The im- 
 pression now shown (No. i), from a rough willow block preserved at a temple 
 in Shibamata, as the handiwork of the famous Buddhist Abbot Nichiren 
 (d. 1282), and the two representations (Nos. 2 and 3) of Deva Kings by 
 a priest named Riokin, which are dated in 1325, may be accepted as authentic, 
 and others named by Mr. Satow in the article referred to go back even as 
 far as the beginning of the nth century. The examples before us, how- 
 ever, are sufficient to demonstrate that both Japan and China were in advance 
 of Europe in pictorial xylography, as well as in block and type printing. 
 
 Our information upon the story of wood engraving in China is lamentably 
 scanty. It is possible that in the days when the Chinese led the world as 
 painters, they produced specimens of xylography worthy of their artistic 
 renown, but none of these have reached us. The illustrations of the Buddhist 
 text known as the Kwanyin Sutra (No. 427 and Fig. i) show a practised hand, 
 
 1 An impression from a wood block representing Daikoku (the Japanese form of Mahakala), in the 
 British Museum Collection, is attributed to the great promulgator of Buddhism, Kobo Daishi, 
 {774-834 A.D.). There can, however, be little doubt that it is of comparatively modern date. 
 
Vll 
 
 but are mechanical and uninteresting in style, and the later examples are 
 generally inferior to these, and never of a • much higher character. The wood 
 cuts of which the Chinese are said to be most proud are those illustrating two 
 
 
 Fig. I. Reduced facsimile of a Chinese wood cut in the Kwanyin Sutra (i330- 
 
 No. 427. 
 
 volumes descriptive of the cultivation of rice and the manufacture of silk, of 
 which we are only able to exhibit a photographic reproduction and a Japanese 
 facsimile (Nos. 422 and 432). These show much delicacy of handling, but in 
 no respect deserve comparison with the better class of Japanese work. Chinese 
 
Vlll 
 
 xylography is often careful, occasionally elaborate, but never of any great 
 power ; while in some books of wide reputation as art manuals, such as Nos. 
 417 and 430, the engraver has done little more than caricature the art of his 
 period. 
 
 It is believed that the Chinese discovered the method of obtaining poly- 
 chromatic pictures by means of a series of wood blocks, long before the date 
 of the Psalter of Faust and Schoeffer {circa 1450), but again material evidence 
 is wanting. The earliest specimen known is the Kaishiyen gwa den (No. 
 430), a copy of which is in the British Museum ; a later but far better 
 example is the beautiful work now exhibited by Mr. Alexander (Nos. 
 425-6), the Ling mao hwa-hwiii (1704), which was copied in 1748 by 
 a Japanese engraver (No. 424) ; but even this has been surpassed, both 
 artistically and technically, by the Yedo and Kioto chromo-xylographers of 
 the last century. There is little doubt that the scarcity of well-engraved 
 book illustrations in China is in great part accountable for the inferiority 
 of the more modern decorative art of the Middle Kingdom to that of Japan. 
 While the spirited designs of Moronobu, Morikuni, Korin, Hokusai, and a 
 score other Japanese artists were multiplied with marvellous accuracy and 
 feeling by the wood engravers, chiefly for the use of artisans, the Chinese 
 porcelain decorator or lacquer painter had to content himself with book models 
 like the Kaishiyeii gwa den and the Dzii-ye So-i (Nos. 430 and 417), and 
 repeated the stiff ungraceful outlines with only too severe fidelity of imitation. 
 Painters of consummate skill have not been wanting in either country, but 
 it has been left for the Japanese, and chiefly through the medium of the 
 wood engraver, to bring pictorial art within the reach of the million. 
 
 There is still less to say with reference to KOREAN xylography. It 
 has been mentioned that block printing was probably employed in Korea 
 before its adoption in Japan, and we are told by Mr. Satow that the Koreans 
 are known to have used moveable type as early as 13 17, but there could 
 scarcely be a worse specimen of book illustration than the only example of 
 Korean pictorial engraving we are able to bring forward, No. 428, a large and 
 somewhat pretentious volume printed in the early part of the 17th century. A 
 Japanese reproduction of an older work (165 1 A.D.), preserved in the British 
 
IX 
 
 Museum, is comparatively skilful, but has no claim to excellence. Modern 
 examples there appear to be none, for Korea, at its zenith when Japan was 
 beginning to emerge from barbarity and when Europe had sunk to its lowest 
 intellectual level, has now reached its nadir, and is an anachronism by the 
 side of the Suzerain Empire and the younger country into which it once 
 poured countless treasures of art and learning. 
 
 It has been explained that JAPAN is indebted for her knowledge of the 
 processes of wood engraving to her great continental neighbour ; but while 
 there are few Chinese specimens that have any special artistic value, the 
 collector of Japanese ' single sheet ' woodcuts and illustrated books may 
 enrich himself with a host of works that exemplify almost every good quality 
 within the range of xylographic art, and at the same time present a picture 
 of country and people, of customs and traditions, such as no written record 
 can ever supply. The study of the vast quantity of material of this kind 
 now accessible in the collections in our own country, and in the choice 
 libraries of Messrs. Gonse, Burty, and Duret, in Paris, would be the work of a 
 lifetime, and the brief sketch of its development and characters here sub- 
 mitted must be regarded only as a provisional summary of the leading 
 facts as yet within our reach. 
 
 The date of the first essays of the Japanese in wood engraving can 
 only be conjectured, but we may assume that the art was occasionally practised 
 from the time of the introduction of block printing — i,e. not later than 
 A.D. 770, and at least a century before the great painter Kos6 no Kanaoka 
 executed his masterpieces. There are still preserved in the temples of Japan a 
 number of pictorial blocks attributed to the early native fathers of the Buddhist 
 religion, from the seventh century onwards, and, although most of these 
 engravings are obvious frauds, the evidence in the case of a few is unassail- 
 able. It is at any rate beyond doubt that for many centuries before the 
 date of the first book illustrated with wood cuts, xylography in its two chief 
 applications was carried on within the precincts of Buddhist temples for the 
 purpose of reproducing texts (sutras) and pious images. In this period there 
 was probably no distinction between engravers of characters and engravers of 
 pictures, as special skill was scarcely necessary for the reproduction of the 
 
 b 
 
X 
 
 I. 
 
 Fig. 2. Reduced facsimile of a wood engraving attributed to the Buddhist 
 priest, Nichiren (1222-1282). No. i. 
 
XI 
 
 n 
 
 9 
 
 Fig. 3. Agni Deva, the Fire Divinity. Reduced facsimile of a woodcut dated in 
 the 2nd year of Shochiu (1325). Engraved by a priest named RiSkin. No. 2. 
 
Xll 
 
 conventional drawings required to illustrate a religious essay, and the few 
 examples that have been handed down to us, with the exception perhaps 
 of the rather late series by Riokin (Nos. 2 and 3), show little merit. The 
 actual service to Art rendered by the early engravers was very small, and 
 we must regard the first historical period, terminating with the opening 
 of the 17th century, chiefly as one of archaeological interest. 
 
 The second period begins with the introduction of woodcut illustrations 
 into popular books, and this important step may have been nearly coinci- 
 dent with the first application of printing for the spread of secular 
 literature. The oldest illustrated book at present known to us is a copy 
 of a romance of the lOth century, called the he Monogatari (No. 251, 
 and Fig. 4), published in 1608 and again in 1610, but it is most probable 
 that the claims of this volume to priority will one day be superseded, for 
 it has scarcely the appearance of a maiden effort. It was followed by 
 other books of the same character, and in some of these the pictures have 
 been defaced by a coarse hand colouring that strongly recalls the garish 
 decoration of the cuts in the English Chap-books of the early part of the 
 present century. The Hogen Monogatari^ an historical romance issued in 
 1626 (No. 252), is a good example of the type. Books of this kind multi- 
 plied. The classical compositions of the order of the Is^ Monogatari shared 
 the public favour with treasuries of moral anecdotes like the Jokid hiden, a 
 mirror for the instruction of the gentler sex, published in 1649 (No. 253)' 
 and many works of fiction of a less heavy class. There was, however, no 
 trace of artistic advance, and the 17th century was drawing to a close before 
 the Japanese engraver had produced anything worthy of the age or of the 
 people. The period was nevertheless one of note, for the artist now became 
 fully recognised as an important auxiliary to the author, and the improvement 
 of his work was but a question of time. 
 
 The hint of book illustration was undoubtedly given by the manuscript 
 rolls of which the earlier libraries were mainly constituted. These were 
 gorgeously embellished by artists of the highest eminence, and reproduced 
 in considerable numbers by elaborate hand copies ; and it is noteworthy 
 that the designs in the he Monogatari and Hogen Monogatari were in 
 close imitation of the style of the old painters of the Yamato school. 
 
XIU 
 
 Fig. 4. The Poet and the Peerless Mountain. Facsimile of an engraving in the 
 
 he Monogatari (1608). No. 251. 
 
XIV 
 
 Of the draughtsmen and engravers who were responsible for the book 
 cuts we have no record. 
 
 The third period, short but all important, began about 1680, and the 
 honour of its inauguration falls upon a dyer's draughtsman, afterwards a 
 noted painter, named Hishigawa Moronobu, who may also be regarded as 
 the true founder of the School which has, in modern times, given us such 
 men as Hokusai, Settan, and Hiroshig6, and nearly the whole of the 
 illustrations to the literature of the last hundred years. Moronobu was 
 a painter of high capacity, and could have made for himself a name in any 
 department of pictorial art, but it is as a book illustrator we owe him the 
 greatest share of our debt of gratitude. "With him begins the history of 
 artistic engraving in Japan. He supplied pictures for books of almost every 
 description, in fact went over nearly all the ground since occupied by Hokusai 
 and his school, and the reproduction of the vigorous but simple outlines of 
 
 Fig. 5. Burlesque. Reduced facsimile of engraving after Hishigawa Moronobu (about 1680)- 
 
 No. 254^ 
 
XV 
 
 his masterly sketches was in itself an education for the wood engravers, who 
 perhaps were directly superintended by the artist. The names of the engravers 
 are not known, but the technical excellence of some of the cuts in the now 
 rare volumes that issued from his hand can scarcely be surpassed (see No. 
 254). It is to be regretted that Moronobu did not avail himself of the 
 process of chromo-xylography, which was introduced while he was yet at 
 work, for he was a consummate colourist. Some of the copies of his books 
 however were painted by hand in a very attractive manner (see No. 255), and 
 apparently for purposes of sale. He died at the age of 6^ between 171 1 
 and 1716. 
 
 The names of his associates and pupils are variously given by different 
 authorities. The latest enumeration, that of Ki5sai in his 'Gwa den' (i8Sy), 
 mentions a brother named Morofusa, a nephew named Moronaga, and others ; 
 but as no book known to have been illustrated by any of these artists has yet 
 been met with, it is probable that they devoted their efforts to painting; or 
 it is possible that the unsigned engravings in some of the volumes of the 
 end of the 17th and beginning of the i8th century, such as Kwaraku 
 saiken dzu (No. 454), were the work of one or other of their number. His 
 best-known contemporary, however, as a book illustrator and designer of 
 'single sheet' pictures {ichimai-y^), was Okumura Masanobu, whose style 
 resembled rather that of Miyagawa Choshun, a rival of Moronobu in the 
 revived popular school of painting, and like Choshun he was chiefly noted for 
 his delineations of women. Two of his volumes are shown in case H (Nos. 
 260 and 261), and two of his single sheet compositions in Nos. 5 and 7. 
 Other independent book draughtsmen of the same period were Hasdgawa 
 Toiin, whose ^-Jwn Hokmi (1688) was apparently the model for the many 
 collections of popular legends which followed ; and Ishikawa Riusen, the artist 
 of the Yamato kosaku y^-sho (1685), in which will be found many interesting 
 sketches of Japanese customs. See Nos. 257 and 262. 
 
 The end of the seventeenth century also brought into the field another 
 popular artist of great capacity in Torii Kiyonobu, the founder of the theatrical 
 school of popular art, and the first important promulgator of chromo- 
 xylography. He also supplied illustrations for many of the early novelettes, 
 and is reported as the inventor of the style of scene painting still in vogue in 
 
XVI 
 
xvu 
 
 the Japanese theatres. Hi's works are rare, but the colour print No. 6 and 
 the novelette No. 532 will serve as examples. His manner was preserved 
 by his school, which continued down to about 1780, to give place to the 
 allied school of the Katsugawas. 
 
 In the early days of wood engraving a single block only was employed, 
 but as soon as the Chinese method of chromo-xylography, by the use of a 
 series of wood blocks, became understood in Japan, it was adopted with an 
 energy and intelligence that soon left its inventors far in the rear. The date 
 of the process in China is uncertain, but colour printing is known to have 
 been carried on extensively in the 17th century, and, as shown by the rare 
 volume already referred to, the Ling Mao Hwa-hwni, published in 1701, 
 had reached a high degree of merit while the Japanese imitation was still 
 in its infancy. 
 
 The origin of the art in Japan is assigned by most native authorities to 
 the end of the 17th century, when one Idzumiya Gonshiro is said to have 
 made use of a second block to stamp certain parts of his engraving with b^i- 
 or extract of carthamus (hence the name b^ni-yi applied to the early colour 
 prints), but the late Mr. Ninagawa believed the earliest known example of 
 printing in colours to be a portrait of the actor Ichikawa Danjiuro (the 
 histrionic ancestor of the present leader of the Tokyo stage), sold in Yedo 
 in 1695.^ It appears at any rate to have been amongst the earliest of the 
 ' single sheet ' pictures known as YMo-yd, which afterwards became a com- 
 modity of much artistic and commercial importance. 
 
 The history of artistic chromo-xylography, as demonstrated by existing 
 specimens, began about 1700, when 'single sheet' engravings (ichimai-y^), 
 printed from three blocks, in black, pale green or blue, and pale pink, were 
 executed after the designs of Torii Kiyonobu, and a little later after those 
 of his pupil Kiyomasu, and of Okumura Masanobu. About 1720 a fourth 
 block was added by Nishimura Shigenaga, and the number was increased to 
 five or six about forty years later ; the colours gaining in purity with each 
 successive generation of artists, until the art was brought to perfection 
 
 * This date is of course considerably posterior to that of the chiaroscuro engravings of Ugo da 
 Carpi and Lucas Cranach, and of the still earlier colour prints of Peter Schoeffer. It is not certain, 
 however, whether the process adopted by Schoeffer was similar to that employed in China and Japan. 
 
XVIU 
 
 between 1765 and 1785 in the 'single sheet' pictures of Torii Kiyonaga, 
 Suzuki Harunobu, and Katsugawa Shunsho, and maintained for another 
 twenty-five years under the Utagawas — Toyoharu, Toyohiro, and Toyokuni, 
 and many others who will be named. 
 
 The popular school was also served importantly during the latter part 
 of the seventeenth century by three painters who did not call in the aid of 
 the engraver for the diffusion of their works. These were Honnami Korin 
 (1660- 1 7 16), a great lacquer painter, and one of the boldest and most 
 original decorative designers that Japan has ever possessed ; Hanabusa Itcho 
 (1651-1724), a remarkable inventive genius, with a dangerously keen sense 
 of humour ; and Miyagawa Chdshun, to whom allusion has already been made. 
 The drawings of Korin were collected and published in the present century by 
 his famous imitator, Hoitsu (see No. 308). Those of Itcho were reproduced 
 under the direction of his followers in the course of the last century (see 
 No. 274) ; but the memory of Choshun, whose pictures are not less deserving 
 of preservation, failed to receive the same honour. A few other artists might 
 be added to this enumeration, but they exercised no perceptible influence 
 upon the progress of the school or of xylography. 
 
 This period may be said to end about 17 10, or rather to pass almost 
 imperceptibly into another term signalized by the labours of a new set of 
 artists and by a wide augmentation of motives. It had touched, however, upon 
 all the more important branches of popular art. The illustration of novels 
 and novelettes had been taken up by Moronobu and Kiyonobu. Portraits 
 of actors, theatrical tableaux, and pictorial playbills were produced by the 
 latter artist and his pupil Kiyomasu ; the illustrations of local scenery, which 
 were afterwards to develope into the important topographical handbooks of 
 Shunchosai and Settan, found their germ in the Kwaraku saiken dzu (No. 
 454), by a pupil of the Hishigawa school. Moronobu himself anticipated Ooka 
 Shunboku and Sakurai Shiuzan in the publication of copies of famous 
 pictures : the E-hon Hokaii of Hasegawa Tolin (No. 257) led the way for the 
 innumerable volumes of illustrated legends : the Tokiwa gi (No. 479), published 
 in 1700, was apparently the first of the painter's engraved collections of industrial 
 designs : and, lastly, portraitures of beautiful women — the favourites of the tea- 
 house and other resorts — attracted the pencil of Okumura Masanobu. There 
 
remained, indeed, little to add, but it is nevertheless very easy to distinguish 
 between the productions of this short term of three decades and those of 
 the cycle which succeeded it. 
 
 The fourth period, extending from about i/io to about 1765, is 
 marked principally by the labours of two men, Tachibana Morikuni (1670- 
 1748) and Nishigawa Sukenobu (1671-about 1760), and by a considerable 
 ^development of chromo-xylography in the hands of the Torii school. Mori- 
 kuni and Sukenobu, pupils of the Kano school — one of the most severely 
 classical of the orthodox academies — and both prolific artists, worked in 
 different directions in the cause of book illustration. The former is best 
 known by his volumes of wood cuts, designed for the guidance of artisan 
 artists, comprising drawings of birds, flowers, trees, landscapes, scenes of history 
 and legend, in fact every kind of motive that could be utilized by industrial 
 draughtsmen — who down to the present day have continued to profit by his 
 legacy — and he has besides left some specimens of his more purely academical 
 work, in the form of a masterly series of quick sketches in the style of his first 
 academy (No. 269). Sukenobu, on the other hand, although a contributor to 
 popular art education in his E-hon Yamato hiji, which consists principally of 
 illustrated legends, won his reputation by his drawings of women, pretty 
 little creatures with every charm that graceful and varied action, gently 
 undulating contours, and clinging folds of cunningly-devised drapery, were 
 able to confer, but soulless and simpering, and devoid of individuality as the 
 figures of an European fashion plate. He was nevertheless a true artist, and 
 the wood cuts in his more noted albums are amongst the most pleasing 
 pictures of his century. He also illustrated novels and a host of books of 
 other and various kinds (Nos. 265 and 534). 
 
 As a third but later and less influential artist of the same class, may 
 be named Tsukioka Tange (17 17-1786), who is reputed for his drawings of 
 heroic deeds. He left also a book illustrative of the scenery of Eastern 
 Japan (see Nos. 275 and 458). 
 
 Another characteristic of the new period must also be accredited to a 
 pupil of the Kano school of painting, Ooka Shunboku (d. about 1760 at the 
 age of 84), who edited the first three or four of an invaluable series of albums 
 containing copies admirably drawn and engraved, after pictures by famous 
 
XX 
 
 Fig. 7. The Poetess and Maid of Honour, Ono no Komachi, in her old age. Facsimile of 
 an engraving after Nishigawa Suk^nobu in the E-hon Yamato hiji{^\i\i). 
 
XXI 
 
 Fig. 8. Crow. After a picture by the Chinese painter Muh-ki (12th century). 
 Engraved in the E-hon U-kagami (1720). 
 
xxu 
 
 Japanese and Chinese masters. The earliest of these was the Gwashi 
 kwai-yo, pubHshed in 1707, which was followed by the E-hon te-kagami 
 (1720), the Gwa-ko sen-ran (1740), and the Gwa-yen (1749), all still in 
 use amongst artisan designers ; and the series was continued by Sakurai 
 Shiuzan in the Gwa-yei (1750), Gzva-ho (1764), and Gwa-soku (1777). 
 Three examples out of this mine of wealth are shown in Nos. 268, 
 270, and 279. 
 
 There were few volumes devoted to scenery in this period. The Togoku 
 meisho-shi of Tsukioka Tang^ (No. 458) is perhaps the most noteworthy, but 
 there were also many panoramic views of long tracts of country, hand 
 coloured, and made up into Orihon or folding books, a series which com- 
 menced at least as early as 1689 (see No. 259), and was continued down to 
 the middle of the last century or later. 
 
 Chromo-xylography was carried on by the 'single sheet' artists of the 
 Torii school. Torii Kiyomitsu, Nishirnura Shigenaga, and Ishikawa Toyo- 
 nobu (see No. 8 et seq.), were the most noted contributors to this 
 class of work, and did something to advance the art which received its 
 first impulse from Torii Kiyonobu. The first book illustrated with coloured 
 engravings appears to be a facsimile, dated 1749, of the Ling-mao hwa- 
 hwui (see No. 424). 
 
 The fifth period, extending from 1765 to 1820, was the palmy age 
 of Japanese chromo-xylography, and was moreover stamped by the develop- 
 ment of three new features in book illustration : the remarkable series of 
 topographical handbooks for the great cities and more important provinces of 
 Japan ; albums of miscellaneous sketches typified by the Hokusai Mangzva ; 
 and the illustrated novels of Bakin and his associates, which ran on to the 
 prodigious length of sixty, eighty, or a hundred volumes of octavo size and 
 substantial thickness. 
 
 The advance led by Torii Kiyonobu, during the first half of the 
 century, was carried to its highest point by Torii Kiyonaga, who 
 flourished about 1765. The number of blocks employed by the earliest 
 chromo-xylographers seldom exceeded three, and the tints were of a very 
 subdued character, but the colours increased in number and decorative 
 quality with each successive generation, until at the beginning of the 
 
XXIll 
 
 new period as many as six printings were employed for each picture, the 
 colours became remarkably tender and harmonious, and effects of gradation 
 were superadded to the flat impressions that had previously satisfied the 
 artists. Kiyonaga, who is best known by his drawings of women and 
 his illustrations to novelettes, was associated with Kiyotsune, a less 
 successful disciple of the school, and was followed by Kiyomine, with 
 whom the line appears to have ended. The greatest name, however, to 
 be placed by the side of that of Kiyonaga is that of Katsugawa Shunsho, 
 one of the most vigorous and industrious of the leaders of the popular 
 school. Shunshd's reputation is founded principally upon his portraits of 
 actors taken in character, but his drawings of women were as graceful as 
 those of Nishigawa Sukenobu, and more refined. His Seiro bij'in awase 
 kagami (No. 285), published in 1776, is perhaps the most beautiful album 
 of colour prints that Japan has ever produced. 
 
 Amongst his numerous contemporaries may be noted Shunko, Shunjo, 
 and Shunyei (his pupils), Ippitsusai Buncho, Suzuki Harunobu, Isoda Shobei 
 or Koriusai, Koyekawa Shuncho, Toriyama Sekiyen, and Kitawo Kdsuisai 
 Shigemasa. Of these the first three were devoted almost wholly to theatrical 
 portraiture ; the others, with the exception of Toriyama Sekiyen, to the 
 delineations of a pleasing but conventional type representing women of the 
 period. The last named was a book illustrator of great ability, who has 
 left a valuable album of miscellaneous colour prints (No. 391). 
 
 Near the end of the century appeared another group of chromo- 
 xylographic artists of scarcely less power. These were Utagawa Toyoharu 
 and his pupils Toyohiro and Toyokuni ; HosoY Chobunsai Yeishi, originally 
 a pupil of the Kano academy ; Kitawo Masanobu, more famous as Kioden 
 the novelist, Tsubo Toshimitsu, Kitawo Keisai Masayoshi, Kikugawa Yeizan, 
 Kitagawa Utamaro, and Hokusai. The Utagawas succeeded the Katsu- 
 gawas as the artists of the stage, but have also left many illustrations to 
 novels and numberless portraits of popular female celebrities. Shunman, 
 Masanobu, and Masayoshi were followers of Shigemasa, but the latter 
 struck out an original line, and in addition to very spirited drawings 
 in the style of his predecessors (No. 281), commenced the swift but expres- 
 sive sketches in which one or two strokes of the brush were made to 
 
XXIV 
 
 suffice for the outline of an entire figure, — a trick which was afterwards 
 adopted by Hokusai, and others (No, 373). Colour prints were amongst the 
 earliest known works by Hokusai ; the first of these bearing the name of 
 Shunr5 were executed in the style of the Katsugawas (No, 50), but from 
 about 1798 his manner altered, and he commenced a valuable series of 
 albums containing scenes in and about Yedo (Nos, 316 to 320), and earned 
 by these a high reputation many years before the publication of his most 
 famous work, the Mangwa. Hokusai, whose name is now of European 
 renown, was born of humble parentage in 1759, and entered the school of 
 Katsugawa Shunsho, in which, however, he does not appear to have won 
 any distinction. Towards the end of the century he was occupied in 
 illustrating — and occasionally in writing — cheap novelettes, and it was not 
 until the publication of his Yedo albums that he emerged from almost 
 complete obscurity. It was also during the opening of the present century 
 that he began to draw designs of New Years' cards (surimonos) in associa- 
 tion with his pupil Hokkei, and others, and to illustrate the novels of his 
 friend Bakin, and at length, in 1812, he issued the first volume of the 
 Mangwa (Nos, 325 and 327), a famous collection of miscellaneous sketches 
 for the use of artisans and students of drawing. From this time his 
 influence became paramount in the popular school, and in the next period, 
 beginning about 1825, he was the dominant influence in the world of 
 artisan art. It is noteworthy that he never contributed to theatrical 
 illustration, despite his early training under Shunsho, but left the speciality 
 entirely in the hands of Utagawa Toyokuni and his followers. The main 
 facts of his career have been already brought before the European public, 
 and need not be further dwelt upon here, Toyokuni (1772- 1828) was a 
 remarkably industrious artist, and during the twenty years of his active 
 career did much to maintain the excellence of the chromo-xylographic 
 single sheets which then formed an important article of commerce. He 
 not only led the theatrical section of his art, but drew charming portraits 
 of women, illustrated novels and other books, and even supplied drawings 
 for an album in the style of the Mangwa ; but this was not published 
 until after his death (No. 345). The colours of his later single sheet pictures 
 were daringly bright when compared with those employed by his prede- 
 
XXV 
 
 cessors, but well combined, and for many of his admirers he stands at the 
 head of chromoxylography. His pupils too, Kunisada, Kuniyasu, and 
 many more, gave him good support, the former, indeed, during the life of 
 the master was the author of some of the most beautiful specimens of the 
 colour printing of the time ; but afterwards allowed the standard of his 
 productions to sink, and became the principal agent in furthering the 
 decline of the art. 
 
 The great series of topographical handbooks, to which future historians 
 of Japan will owe a heavy debt, began about 1786, with the Miako MeisJio 
 dzu-y^, illustrated by the pencil of Tak^hara Nobushige, or Shunchosai, an 
 artist of considerable power. An almost complete series of specimens will be 
 found in Cases K, L, and M, and from these may be learned the names 
 and styles of the various artists who have made a speciality of the work. 
 
 Fig 9. Reduced facsimile of an engraving after Hokusai in the Stiiko gwa den (1810). 
 
 d 
 
XXVI 
 
 The amplification of the novel came a little later. The earlier 
 stories were comparatively short and unambitious, but a group of novelists 
 who arose at the commencement of the present century inaugurated a 
 revolution in works of fiction. The new novel would often run to 60, 80, 
 or 100 octavo volumes, each with a goodly proportion of illustrations, 
 the designs being allowed to occupy the page without that intrusion of text 
 which characterised the novelette or Kiisa-zoshi (Fig. 16) ; and the first 
 volume of each section of the book usually bore, in addition, a special 
 introductory set of pictures printed from two, three, or four blocks. The 
 artists who contributed most largely to these compositions were Utagawa 
 Toyohiro, whose illustrations were of remarkable delicacy and beauty, 
 Hokusai, Yanagawa Shigenobu, Giokuransai Sadahide, and Keisai Yeisen. 
 See Nos. 531 et seq. and Fig. 9. 
 
 European art exercised little influence in this period, but a painter 
 named Shiba Gokan, who flourished in the early years of the 19th century, 
 learned a little of the principles of linear perspective from the Dutch, and 
 is said to have introduced engraving on copper. It has not been possible 
 to find any of his efforts in the latter direction, but his ideas of perspective 
 may be seen in his Gwa-to Sai-yu dan, a book of travels published in 
 1 78 1 (No, 56). The book-illustrators and scene-painters from about the 
 same time began to adopt perspective, but used or neglected it in a most 
 capricious fashion, sometimes introducing vanishing points with fair accuracy 
 in one part of the picture, while drawing the rest on the Chinese 
 isometric plan, but never displaying any scientific acquaintance with 
 optical principles. 
 
 This term, during which were produced most of the finest examples 
 of pictorial engraving in black and colours, ended about 1825. It was 
 followed by a period in which Hokusai, now associated with a new 
 generation, stood pre-eminent. 
 
 The most interesting publications of the sixth period, extending from 
 1825 to about i860, saw the issue of the later volumes of the Mangwa^ 
 the Fugaku hiak'kei, or Hundred views of the Peerless Mountain, and many 
 other books by Hokusai, which proved that the eye of the old artist had 
 become more correct, while his hand had lost none of its cunning, and 
 
XXVll 
 
 he still held his place down to the year of his death in 1849, at the 
 great age of 89. The Fitgaku hiak'kei (Nos. 336-337) may be indicated 
 as one of the best examples of the engraving of the period. His 
 associates in the latter half of his career were Utagawa Kunisada, Utagawa 
 Kuniyoshi, Ichiriusai Hiroshige, Hasegawa Settan, Hasegawa Settei, and 
 Matsukawa Hanzan. Kunisada (who in 1844 adopted the name of his 
 teacher Toyokuni) and Kuniyoshi supplied innumerable designs to the 
 publishers of chromo-xylographic single sheets, but left the printers to their 
 own devices in the matter of colours, and with the result that the art fell 
 to a level below which only the men of the present generation were able 
 to descend. They also illustrated several books, mostly novelettes and 
 theatrical literature, but the Kaibiakii yu-raiki, an historical work, and the 
 
 Fig. 10. Hokusai Sketching the Peerless Mountain. From the Fugaku Hiak'kei. Nos. 336-7. 
 
XXVlll 
 
 Kuniyoshi zatsu-gwa, are good examples of the work of Kuniyoshi outside 
 the single sheets, which occupied his chief energies. 
 
 The establishment of an offshoot of the Utagawa theatrical school at 
 Osaka was a feature in the period of Kunisada. This appears to have 
 been developed through a number of pupils of Kunisada and Hokusai from 
 about 1835 or 1840. In style of drawing the Osaka single sheets differ 
 little from those of the Yedo artists, but there are certain peculiarities in 
 the types given to the faces of the different actors that stamp almost all 
 the representations, and the colours are generally stronger and marked by 
 a greater predominance of yellow than in the works of the parent school. The 
 style is fully exemplified in No. 190 et seq. The principal names were 
 those of Hokuch5, Hokuyei, Hokushiu, Sadamasu and Shigeharu. Hiroshige, 
 originally a pupil of Toyohiro, at first followed the style of his teacher (see 
 No, 129), but developed a new manner from about 1835, when he commenced 
 a series of drawings of views of Yedo, the T5kaid6, and other parts of Japan, 
 of great interest and often of considerable power and beauty. His work is 
 characterised by the attempt to realise effects of perspective, of which, how- 
 ever, his knowledge was very superficial, but his bold and original composition 
 render many of his designs very precious to the collector. Unfortunately, 
 however, the value of much of his later labour in chromo-xylography was 
 injured by the bad quality of the colours, a fault for which the printer 
 or publisher was probably responsible. He died of cholera in 1858 at the 
 age of 61, His rival in the delineation of scenery was Hasegawa Settan, 
 whose labours were confined to drawings for the topographical hand- 
 books. The Yedo meisho dzu-yi, the Nenjin gioji daisei, and the Toto 
 saijiki, in the latter of which he was joined by his son Settei, form 
 the monuments to his talent. The last of the handbook artists was 
 Matsukawa Hanzan, who left some admirable illustrations to the Kwaraku 
 {Kioto) Meisho dzu-y^ and the Saikoku sanjiu saficho meisho dzu-yi (1854), 
 as well as a number of less important sketches. Lastly must be 
 mentioned an entirely independent artist, originally attached to the Shijo 
 (naturalistic) school of painting, Kikuchi Yosai, whose drawings of the 
 worthies of ancient Japan, in the twenty volumes of the book called the 
 Zen-ken ko-jitsu (No. 361), are far superior in refinement and truth to any- 
 
XXIX 
 
 thing of the kind produced by Hokusai or Keisai Yeisen. The portraitures 
 of Yosai were actually types of the patrician order, those of the popular 
 artists were modelled upon stage impersonations, adjusted to the tastes of 
 an audience from which, unfortunately, all the representatives of culture and 
 gentle birth were excluded by the social law of the age. 
 
 This period in the history of wood engraving fell below that which it 
 succeeded, despite the valuable legacies bequeathed by Hokusai, Settan, 
 Yosai, and Hiroshig6, and with it the spirit that inspired these men seemed 
 to pass away; for, from its closing years, the single sheet colour prints 
 were becoming a very nightmare to the sensitive eye, and the albums of 
 miscellaneous sketches, the pictorial handbooks of the towns and provinces, 
 the vigorously illustrated novels, in fact everything that formed the delight 
 of the xylographic collector, came almost suddenly to an end. It would not, 
 however, be difficult for those who have studied the condition of the country 
 in the disturbed period that preceded, and for a time followed, the downfall 
 of the usurping Shogunate to account for the evil that had befallen. 
 
 Of the latest period from i860 to the present time, there is only a little 
 to say. It began under very unfavourable auspices, but within the last eight 
 or nine years an energetic revival of book illustration has taken place, and 
 a few of the recent publications show that neither pictorial nor xylographic 
 power is lost. The 'single sheet' industry is still in difficulties and may 
 never resume its ancient glories, but in the volumes of bird and flower 
 drawings of Bairei, the fairy tale pictures and collections of artisan designs 
 by Sensai Yeitaku, the irresistibly comic albums of Kawanabe Kiosai (see 
 Case I), there is much to inspire delight in the present and hope for the 
 future ; and the encouragement given by Europe and America to the charming 
 series of Children's books published by the Kobunsha company has already 
 proved to the Japanese publishers that good work may now be made more 
 profitable than at any period in the history of their calling. The report of 
 the Japanese Art Commission tells us that in painting it is we who should 
 be the pupils, Japan the teacher. We may at least hope that they will 
 carry out this programme in the less ambitious domain of the wood 
 engraver — unless the multiplying processes of photographic reproduction 
 have rung the knell of xylographic art. 
 
XXX 
 
 The main facts in connection with the technique of wood engraving are 
 as follows. The picture, drawn for the engraver upon thin translucent paper 
 of a particular kind (see No. 58), is pasted face downwards upon a block 
 of wood, usually cherry — sawn in the direction of the grain, instead of 
 across it, as in Europe — and the superfluous thickness of paper is 
 removed by a process of scraping until the design is clearly visible ; the 
 borders of the outline are then incised — very lightly in the more delicate 
 parts — with a kind of knife, and the interspaces between the lines of the 
 drawing are finally excavated by means of tools of various shapes. The 
 ink is applied with a brush, and the printing is effected by hand pressure 
 (assisted by a kind of pad), to which procedure may be attributed much of 
 the beauty of the result. Certain gradations of tone, and even polychromatic 
 effects, were produced from a single block by suitable application of ink 
 or colour upon the wood, and on looking at examples of this kind, it is 
 often apparent that a great deal of artistic feeling had been exercised in 
 the execution of the picture after the designer and engraver had finished 
 their portion of the work. It may be mentioned that the use of uninked 
 blocks for the purpose of embossing portions of the design, as an aid to 
 the effects of colour printing, is seen in the works of Nishimura Shigenaga, 
 executed about 1730, and was, perhaps, practised at an earlier date. It was 
 employed with the best results by Kitagawa Utamaro in the Momo Chidori 
 kioka A was/ (No. 297), and is frequently seen in more recent productions 
 of chromo-xylography. 
 
 The effect of printing from two or more blocks was in some cases 
 obtained by preparing a single block with ink of different colours, or with 
 different shades of the same colour. This appeared as early as 1740 in 
 some landscapes in the Gwako senran where the distance is represented by 
 pale ink, against which the dark foreground stands out in bold relief, and 
 in the Soshiseki gwa-fu (1769-70) chromatic effects are produced by the 
 same means (see Nos. 279 and 282). Sky and water tones are in like 
 manner graduated in colour prints, the superfluity of colour being re- 
 moved, where the lighter shade is required, by the simple process of wiping 
 the inked block with a cloth, according to directions previously given by 
 the engraver. 
 
XXXI 
 
 In the ordinary colour prints the effects are obtained by the use of a 
 number of additional blocks engraved in series from copies of the outline 
 impression taken from the first or outline block. The correctness of register 
 is secured by preserving two angles of the original block level with the 
 surface of the lines of the engraving, and marking each of these with 
 incisions in a certain direction (see No. 376). The angles are printed off 
 upon the sheet bearing the first outline, and are repeated in facsimile in 
 the cutting of all the subsequent blocks, the corner marks left upon the 
 paper after contact with block No. i thus being made to serve as an exact 
 guide for the accurate apposition of the sheet upon each successive block. 
 The printings are all effected by hand pressure. The process is simple, but 
 the rarity of faults of register in Japanese chromo-xylography proves that 
 it is efficacious. Many interesting details as to the process will be found 
 at the end of Section I. of Audsley's Ornamental Arts of Japan. 
 
 In conclusion, it should be mentioned that portions of the foregoing 
 outline and of the notes attached to the following pages have been quoted 
 from the * Pictorial Arts of Japan,' and ' Catalogue of the Japanese and 
 Chinese Pictures in the British Museum.' The illustrations were kindly 
 furnished by Messrs. Sampson Low and Co., the publishers of the former 
 work. 
 
 The writer has to acknowledge gratefully the assistance and advice 
 afforded in the course of his task by Mr. E. Dillon, whose intimate acquaintance 
 with Japan was invaluable, Mr. H. Virtue Tebbs, and Mr. J, Roget, his 
 colleagues upon the Committee appointed by the Club to superintend the 
 preparation of the Exhibition. 
 
 WILLIAM ANDERSON. 
 February, 1888. 
 
XXXll 
 
 SUMMARY OF PERIODS. 
 
 9eecCC@®0 Ctn. 
 
 First Period. 
 
 9th century (?) to 1608. Buddhist engravings — Portraitures of divinities 
 executed by priests. 
 
 Second Period. 
 
 1608-1680. Early illustrated books — Engravings unskilful — Names of artists 
 and engravers unknown. 
 
 Third Period. 
 
 1680-17 10. Artistic albums — Illustrated books — Single sheet pictures — 
 Panoramic views — Introduction of chromo-xylography. 
 
 Principal Artists : 
 
 Hishigawa Moronobu Books. 
 
 Okumura Masanobu Books and sing k sheets, chromo-xylographs. 
 
 Hasegawa Toiin and Ishikawa Riusen Books. 
 
 Torii Kiyonobu and Torii Kiyomasu Books, theatrical ^single-sheets,' 
 
 chroniO'Xylographs. 
 
XXXlll 
 
 Fourth Period (1710-1765). 
 
 Artistically illustrated books of all kinds, especially copies of old pictures, and 
 volumes for instruction. Chromo-xylography in books and single sheets. 
 
 Principal Artists : 
 
 Tachibana Morikuni (1670-1748), TachibanaYasukuni, Nishikawa Suk6nobu 
 (1678-1750?), Ooka Shunboku (d. about 1755, aet. 84), Sakurai Shiuzan, Tsukioka 
 Tang6 (17 17-17 86) Book illustrations of various kinds, 17 10-1765. 
 
 Torii Kiyomitsu, Torii Kiyonaga, Torii Kiyotsun^, Tomikawa Ginsetsu 
 
 Single sheet chromo-xylograj)hs, illustrations to Novelettes, etc., 1 750-1 765. 
 
 Nishimura Shigenaga, Ishikawa Toyonobu, Ishikawa Toyomasa Single 
 
 sheet chromo-xylographSy 1 730- 1765. 
 
 Fifth Period (1769-1825). 
 
 Book illustrations, chromo-xylographic as well as in white and black. Theatrical 
 and other single sheets. High development of chromo-xylography. 
 Introduction of European elements — perspective, etc. — into book illus- 
 tration. 
 
 Principal Artists : 
 
 Katsugawa Shunsho (d. 1792) and his pupils Shunko, Shunyei, and others, 
 Ippitsusai Buncho Theatrical single sheets {chromo-xylographic), books, 1770-1790. 
 
 Koy^kawa Shuncho, Suzuki Harunobu, Koriusai (Isoda Shobei), Torii 
 Kiyomine, Kikugawa Yeizan, Kitawo Kosuisai Shigemasa, Tsubo Toshimitsu 
 or Shun man, Toriyama Sekiyen Toyofusa, Utagawa Toyonobu Chromo- 
 xylographic single sheets, chiefly portraits of women — books, 1 770-1 790. 
 
 Hosof Chobunsai Yeishi, Kitawo Masanobu (Kioden), Kitawo Masa- 
 yoshi, Kitagawa Utamaro, Utagawa Toyoharu (d. about 1810) Chromo- 
 xylographic single sheets, chiefly portraits of women — books, 1790-18 10. 
 
 Katsushika Hokusai (Shunro, Sori, Saito, etc.) (1760- 1849) Chiefly 
 
 books and New Year's Cards, from 1790. 
 
 Takdhara Shunchdsai, Nishimura Chiuwa, Hokkio Nishikuni, Niwa Tokei, 
 
 Hayamidzu Shunki5sai, Shitomi Kwangetsu Books, chiefly topographical, 
 
 1 780- 1 800. 
 
XXXIV 
 
 Shimokawabe Jiusui Books, chiefly stories. 
 
 Shiba Gokan (1747-1818) Books with illustrations in perspective, copper 
 
 plate engravings, 1780-1800. 
 
 Utagawa Toyohiro (d. 1828), Utagawa Toyokuni, 1772-1828 JVew Year's 
 
 cards, theatrical and other chromo-xylographic single sheets, books, etc., 1800- 182 5. 
 
 Utagawa Kunisada (1787-1865), Utagawa Kuniyasu, Arisaka Teisai 
 
 Hokuba, Uwoya Hokkei, Katsugawa Shunsen, Katsugawa Shuntei JVeiv 
 
 Yearns cards, chromo-xylographic single sheets, books, etc., from 18 10. 
 
 Tani Buncho (1763-1830) Landscape illustrations, etc. 
 
 H5itsu (1761-1228) Albums of designs after Korin and in the style of the 
 
 Korin school. 
 
 Cho Gessh5 Chromo-xylographic albums, 18 10-182 5. 
 
 Mori Shunkei Chromo-xylographs, chiefly from Chinese sources, 1810-1825. 
 
 Aikawatei Minwa Copies of pictures, 1810-1825. 
 
 Sixth Period (182 5- 1860). 
 
 Signalized by the later works of Hokusai, the topographical handbooks of 
 Settan and the landscapes of Hiroshige. Decline of chromo-xylography. 
 
 Principal Artists : 
 
 Katsushika Hokusai Albums of miscellaneous sketches, etc. 
 
 Keisai Yeisen, Giokuransai or Gountei Sadahide, Yanagawa Shig^nobu, 
 
 and Oishi Matora (1787-1842) Chromo-xylographic single sheets {non-theatrical), 
 
 books, 1 82 5-1 840. 
 
 Hasegawa Settan, Hasegawa Settei Topographical handbooks, 1 830-1 840. 
 
 Otagiri Tadachika, Matsugawa Hanzan Yasunobu, Yashima Sadaoka 
 
 Topographical handbooks, 1 840-1 860. 
 
 Hiroshige (Kondo Jiubei) (1797- 1858) Chromo-xylographic single sheets, 
 
 chiefly landscape — books. 
 
 Utagawa Kunisada See back. 
 
 Utagawa Kuniyoshi (1800-1861) Chromo-xylographic single sheets — books. 
 
 Hokushiu, Hokuyei, Hokucho, Sadamasu, Sadahiro Theatrical chromo- 
 xylographs, Osaka school. 
 
 Kikuchi Yosai or Takeyasu Portraits of ancient celebrities. 
 
XXXV 
 
 Hokujiu, Hokuto, Hkouba, Hokuiin, Saito the Second, Yanagawa Shige- 
 masa, Numata Gessai (1787-1864), Katsushika Isai (Followers of Hokusai) 
 Books, 1825- 1860. 
 
 Shuntosai Copperplate engravings of views, etc., drawn in the European 
 
 style, 1850-1860. 
 
 Seventh Period (i86ot). 
 
 Collapse of single sheet chromo-xylography. Decline of original book illus- 
 trations. Revival of chalcography. Introduction of lithography and 
 chromolithography. Great development of pictorial stencil printing, 
 chiefly in association with embroidery. Book illustrations in imitation 
 of ' European ' manner. 
 
 Principal Artints : 
 
 Kawanabe Kiosai (born 1831) Albums 0/ various kinds, chiefly comic, from 
 
 1865. 
 
 Sensai Yeitaku Albums and book illustrations. 
 
 Bairei Albums of birds and flowers. 
 
 Ishida Aritoshi and Araii Tojiro Copperjilate engravings. 
 
Fig. 14. — Landscape by Roren. Reduced facsimile from the Gwa-to Sui fuyo. No. 363. 
 

 CATALOGUE. 
 
 u > Oflc* 4 » 
 
 ENGRAVINGS ON WOOD. 
 
 1 WOOD ENGRAVING FROM A BUDDHIST TEMPLE. Indra. Early 
 
 impression. The original block of pear wood is still preserved 
 at the Temple of Shibamata, near Tokyo. Executed by the Abbot 
 Nichircn (1222-1282). Lent by Mr. W. Anderson, 
 
 2 & 3 WOOD ENGRAVINGS FROM A BUDDHIST TEMPLE. Deva 
 
 Kings, Agni and Mah^s'vara. Early impressions. Executed by 
 Riokin. Signed. Dated 1325. Lettt by Mr. IV. A?iderson. 
 
 The Deva Kings of Chinese Buddhism are ten in number, and mostly of 
 Brahmanic origin. Their names are Yama (the King of Hell), Soma (the 
 Moon Deva), Surya (the Sun Deva), Agni (the Fire Deva), Vasu (the Deva 
 of the Winds), Nair'rita (the King of the Rakchasi), Vais'ramana (the 
 Brahmanic Kuvera or God of Wealth), Brahma, S'iva or Mahes'vara, Prit'ivi 
 (the Earth Deva), Indra, and Varuna (the Deva of the Water). 
 
 4 WOOD ENGRAVING, coloured by hand (Urushi-y6). Portrait of the 
 
 Pirate Kokusenya carrying an Elephant. Artist, Torii Kiyomasu. 
 Kioto, about 1700. Leni by Mr. W. Anderson. 
 
 Kokusenya, called in European records Coxynga, was a notorious Chinese 
 Pirate of the latter part of the 17th century, who seized upon the island of 
 Formosa, and gave much trouble both to the Japanese and to the Dutch. 
 His courage and ferocity raised him to the position of a gallows-hero in Japan. 
 
 5 WOOD ENGRAVING, coloured by hand. Girl with battledore. Artist, 
 
 Okumura Masanobu, Signed, H5getsud6 Okumura Bunkaku 
 Masanobu. Kioto, about 1700. Lent by Mr. Ernest Satow, C.M.G. 
 
 I 
 
CHROMO-XYLOGRAPHS. 
 
 Motives. 
 
 The earliest application of chromo-xylography was probably in the produc- 
 tion of single-sheet {ic/mnai-y^) portraits of noted actors, and the history of 
 the art is inseparably connected with that of the popular stage (which must 
 be distinguished from the classical and aristocratic " Bugaku " and "N5"). 
 
 The position of the Japanese actor has been until recently a peculiar and 
 somewhat anomalous one ; his professional fame might assume magnificent 
 proportions within the large plebeian circle from which his audience was almost 
 exclusively drawn, but socially he was a pariah. The townsmen whose passions 
 and sentiments he could sway at will, and upon whose memories he engraved 
 the noblest traditions of the past, might esteem his death or retirement a public 
 calamity, but would have regarded any kind of personal alliance with him 
 as a degradation. As for the military class and nobles, every man of gentle 
 birth who respected himself and his order either avoided the theatre or yielded 
 to the indulgence in secret. The player was, nevertheless, a tempting subject 
 for the new set of artisan painters, and although some of them considered 
 the theme beneath the dignity of their occupation, there were many, and of 
 the best, including the Toriis, the Katsugawas, and the Utagawas, who were 
 ready to devote their talents to the perpetuation of the features and im- 
 personations of the Garricks and Listons of their day. Some of these artists 
 exercised a commensurate liberality of spirit in favour of the celebrities of the 
 tea houses and courtesan quarter, but their reputation was established by their 
 records of the stage. 
 
 Next in popularity to the actors, as subjects for single-sheet pictures, came 
 beauties of local repute, or disrepute as the case might be ; and Suzuki 
 Harunobu, Shigemasa, Yeishi, Kitawo Masanobu, and Kitagawa Utamaro, all 
 of whom despised the stage, together with Ippitsusai Buncho and Katsugawa 
 Shunsho, who were superior to prejudice, endeavoured to immortalize the 
 forms of their fair townsmen by the chromo-xylographic art. Their works 
 almost attained the limits of perfection in beauty of colouring, the poses were 
 natural and easy, and the lines of drapery were full of grace ; but the supple 
 curves of figure and the sweet vivacity of expression that have warmed into 
 a glow of eloquence more than one susceptible European tourist, met with 
 scanty justice at the hands of the painter, and the shapely limbs were 
 caricatured by ill-drawn lines that the keen sympathy with nature generally 
 manifested by the Japanese artist should have made impossible. 
 
 The wrestler, too, as a favourite caterer for the amusement of the public, 
 shared the attentions of the single-sheet draughtsmen. He considered himself 
 
many grades above the actor by calling, and at times was pleased to assert 
 his superiority with an arrogance that would have caused the hair to bristle 
 upon the head of the meanest stroller in modern Britain. The artist, however, 
 could make but little of the heavy features and elephantine form, and having 
 no appreciation for the grand display of muscular force that would often reveal 
 itself beneath the hide of the athlete, his studies have given us little that is 
 worthy of preservation. 
 
 Subjects of a more classical type were occasionally selected for reproduc- 
 tion by colour printing in books or single sheets. The famous poets of 
 Japan inspired the pencils of Katsugawa Shunsho and Hosoi' Yeishi, 
 but their portraitures, founded upon old pictures of the Yamato masters, 
 were not characteristic of the Popular School, Birds and flowers were 
 frequently represented in books, though seldom in ichimai-y^ ; and both 
 Hokusai and Hiroshig6 have bequeathed many interesting and attractive 
 colour prints of the scenery of Japan. Scenes of history and legend rose into 
 favour near the middle of the present century, but not until chromo-xylography 
 was on its downward path ; and still later, caricatures and illustrations of 
 current events were circulated by the same medium. It is amongst these 
 modern essays that the " red-haired barbarian " of the treaty ports may see 
 himself as others see him, and when he views as his own image reflected 
 by the Oriental mirror, the awkward, unprepossessing mortal swaggering in 
 garments fearfully and wonderfully made, and grimacing vilely from the midst of 
 his fiery hair and bristling beard, let us hope he will learn a lesson in humility. 
 
 Near the close of the eighteenth century, about 1780, there arose in Yedo 
 a custom of circulating at the New Year complimentary cards, known as 
 Surimonos, containing a verselet or longer composition, with an illustration 
 printed in colours, after designs by artists of the Popular School, amongst 
 whom were included Hokusai, Hokkei, and many of their contemporaries. 
 Most of these works, although generally trivial in motive, were models of 
 chromo-xylography, and as their technique appears to have been superintended 
 with especial care, they place the resources of the engraver in the most 
 favourable light. It was probably in these that the use of metals in colour 
 printing first began, but as the substances employed were for the most part 
 base alloys, instead of silver and gold, the decorative value of the addition 
 was very questionable. The fashion began to die out before the end of the 
 third decade of the present century, and hence the specimens are now rare. 
 The very best examples of the work may, however, be studied in the collections 
 of Messrs. Gonse, Burty, Montefiore, and Buret, and a few have been 
 successfully reproduced by M. Gonse in " L'Art Japonais." 
 
 Paper fans and sunshades decorated with roughly-executed colour prints 
 have been made in enormous numbers in the last thirty years, but are usually 
 devoid of artistic value. 
 
4 
 
 It will be noticed that the subjects illustrated upon detached sheets are 
 not always completed upon the single page, but are sometimes continued upon 
 two, three, or four leaves ; and in the Osaka School even as many as five and 
 six sheets were employed in the illustration of a scene of theatre. In book 
 engravings a similar peculiarity is to be seen, the motive extending over two, 
 three, or more pages, and occasionally, as in the Sumida-gawa Riogati Ichiran 
 (No. 317), running through the entire volume in the form of a panorama. 
 
 6 SCENE OF THEATRE. Printed from 3 blocks. Artist, Torii Kiyonobu. 
 
 Signed. Kioto, about 1700. Lent by Mr. W.Anderson. 
 
 7 PORTRAITS OF WOMEN, etc. Printed from 3 blocks. Artist, Okumura 
 
 Masanobu. Signed, Hogetsudd Okumura Masanobu. Kioto, about 
 1700. Lent by Mr. W. Anderson. 
 
 8 HOLIDAY-MAKERS RETURNING HOME. Printed from 4 blocks. 
 
 Artist, Torii Kiyomitsu. Signed. Kioto, about 1830. 
 
 Lent by Mr. W. Anderson. 
 
 9 PORTRAITS OF GIRLS. Printed from 3 blocks. Artist, Nishimura 
 
 Shigenaga. Signed, Senkwa Nishimura Shigenaga. Kioto, about 
 1730. Lent by Mr. IV. Anderson. 
 
 10 WOMEN. Printed from 3 blocks. Artist, Nishimura Shigenaga. Signed, 
 
 Senkwado Nishimura Shigenaga. Kioto, about 1730. 
 
 Lent by Mr. IV. Anderson. 
 
 11 ACTOR. Printed from 3 blocks. Artist, Torii Kiyotane. Signed, 
 
 Kiyotane. Kioto, about 1750. Lent by Mr. IV. Anderson. 
 
 12 PORTRAITS OF WOMEN. Printed from 4 blocks. Artist, Ishikawa 
 
 Toyonobu (pupil of Nishimura Shigenaga). Signed, Ishikawa 
 Shiuha. Kioto, about 1750. Lent by Mr. W.Anderson. 
 
 13 THE FIVE ACCOMPLISHMENTS. Printed from 4 blocks. Artist, 
 
 Ishikawa Toyonobu. Signed, Ishikawa Shiuha. Kioto, about 1750. 
 
 Lent by Mk W. A nderson. 
 
 The five accomplishments of the educated Chinese and Japanese are writing, 
 reading, painting, music, and the game of Go. 
 
 14 ACTORS. Printed from 4 blocks. Artist, Torii Kiyomitsu. Signed. 
 
 Kioto, about 1730. ' Lent by Mr. W. Anderson. 
 
5 
 
 15 PORTRAITS OF WOMEN. Printed from 4 blocks. Artist, Torii 
 
 Kiyotsune. Signed. Kioto, about 1760. 
 
 Lent by Mr. W. Anderson. 
 
 16 DANCERS. Printed from 4 blocks. Artist, Yamamoto Yoshinobu. 
 
 Kioto, about 1750. 
 
 Lent by Mr. W. Anderson. 
 
 17 GIRL RIDING ON HORSE PALANQUIN. Actors and female 
 
 attendant. Printed from 4 blocks. Artist, Torii Kiyonaga. 
 Signed. Yedc, about 1765. Lent by Mr. W.Anderson. 
 
 18 CHILDREN DANCING. Printed from 4 blocks. Artist, Kitawo 
 
 Shig^masa. Unsigned. Yedo, about 1770. 
 
 Lent by Mr. W. Anderson. 
 
 19 FESTIVAL DANCES. Printed from 5 blocks. Artist, Torii Kiyonaga. 
 
 Signed. Yedo, about 1765. Lent by Mr. W. Anderson. 
 
 20 ACTOR. Artist, Torii Kiyohiro. Printed from 3 blocks. Signed. Kioto, 
 
 about 1760. Lent by Mr. W.Anderson. 
 
 21 KANDA FESTIVAL DANCE. Printed from 5 blocks. Artist, Torii 
 
 Kiyonaga. Signed. Yedo, about 1765, 
 
 Lent by Mr. W. Anderson. 
 
 22 ACTOR. Printed from 5 blocks. Artist, Torii Kiyoshige. Signed, 
 
 Seichoken Torii Kiyoshig^. Kioto, about 1750. 
 
 Lent by Mr. W. Anderson. 
 
 23 VIEW OF YOSHIWARA, YEDO. Artist, Utagawa Kuninawo. 
 
 Signed. Yedo, 1835. Lent by Mr. W. Atiderson. 
 
 24 FEMALE DIVERS. Artist, Yoshiu Shiuyen. Signed. About i860. 
 
 Lent by Mr. W. A nderson. 
 
 25 ' LITTLE PEACHLING ' [Printed from 7 blocks] (Momotaro) AND 
 
 THE DEMONS. Artist, Torii Kiyonaga. Signed. Yedo, about 
 1770. Lent by Mr. Ernest Satow, C.M.G, 
 
 The Story of ' Little Peachling ' is told in Mitford's Tales of Old Japan. 
 
26 ACTORS. Artist, Toshiusai Sharaku. Signed. Yedo, about 1775. 
 
 Lent by Mr. W. Anderson. 
 
 Sharaku is considered to have missed his mark as an artist through an 
 over-anxious searching after the truth. His portraitures, however, 
 appear to be more eccentric and extravagant than veracious. 
 
 27 ACTORS. Artist, Katsugawa Shunk5. Signed. Yedo, about 1770. 
 
 Lent by Mr. W. Anderson. 
 
 The Chromo-xylographs of the Katsugawas were usually printed from 4 
 or 5 blocks. 
 
 28 ACTORS. Artist, Katsugawa Shunk5. Signed. Yedo, about 1770. 
 
 Lent by Mr. W. Anderson. 
 
 29 CHILDREN AT PLAY. Printed from 4 blocks. Artist, Shimidzu 
 
 Genshiro. Signed. Kioto, about 1750. 
 
 Lent by Mr. W. Anderson. 
 
 30 CHILDREN AT PLAY. Printed from 4 blocks. Artist, Ishikawa 
 
 Toyomasa. Signed. Yedo, about 1765. 
 
 Lent by Mr. W. Anderson. 
 
 31 SCENE OF THEATRE. Artist, Kinesei. Signed. Yedo, about 1770. 
 
 Lent by Mr. W. Anderson. 
 
 32 GIRL, Artist, Kitagawa Utamaro. Yedo, about 1800. 
 
 Lent by Mr. W. Anderson. 
 
 This picture belongs to a class of designs each printed in halves upon two 
 sheets, which were afterwards pasted together to form a long picture, and 
 then cheaply mounted in Kakemono form for wall decoration. They 
 were in vogue between 1800 and i860. (See also Nos. 47, 67 and 84.) 
 
 33 PORTRAITS OF WOMEN. Artist, Ippitsusai Bunch5. Yedo, about 
 
 1770. Lent by Mr. W. Anderson. 
 
 34 ACTORS. Artist, Katsugawa Shunyei. Signed. Yedo, about 1770. 
 
 Lent by Mr. W. Anderson. 
 
 35 FEMALE MUSICIANS PLAYING FLUTE AND DRUM. Printed 
 
 from 5 blocks. Artist, Torii Kiyomine. Signed. Kioto, about 
 1780. Lent by Mr. W. Anderson. 
 
36 ACTORS. Artist, Katsugavva Shunko. Signed. Yedo, about 1770. 
 
 Lent by Mr. W. A nderson. 
 
 37 ACTOR. Artist, Katsugawa Shunj5. Signed. Yedo, about 1770. 
 
 Lent by Mr. W. Anderson. 
 
 38 ACTORS. Artists, Katsugawa Shunsho and Shunyei. Yedo, about 1770. 
 
 Lent by Mr. W. Anderson. 
 
 39 WOMEN AND CHILDREN. Artists, Ippitsusai Buncho, Utagawa 
 
 Toyonobu, and Suzuki Harunobu. Yedo, about 1770. 
 
 Lent by Mr. W. Anderson. 
 
 40 WOMEN AND CHILDREN. Artists, Torii Kiyotsune, Ippitsusai 
 
 Buncho, and Suzuki Harunobu. Yedo, about 1770. 
 
 Lent by Mr. W. Anderson. 
 
 41 ACTORS. Artist, Katsugawa Shunyei. Signed. Yedo, about 1775. 
 
 Lent by Mr. W. A nderson. 
 
 42 ACTOR. Artist, Katsugawa Shunshd. Signed. Yedo, about 1770. 
 
 Lent by Mr. W. A nderson. 
 
 43 ACTORS. Artists, Katsugawa Shunsho and Ippitsusai Buncho. Yedo, 
 
 about 1770. Lent by Mr. W. Anderson. 
 
 44 WOMEN. Artist, Koy^kawa Shuncha Yedo, about 1780. 
 
 Lent by Mr. W. Anderson. 
 
 The colouring in Shuncho's chromo-xylographs is always remarkable for tender 
 harmony. 
 
 45 WOMEN. Artist, Suzuki Harunobu. Signed. Yedo, about 1770. 
 
 Lent by Mr. W. Anderson. 
 
 46 ACTORS. Artist, Katsugawa Shunko. Signed. Yedo, about 1770. 
 
 Lent by Mr. W. Atiderson. 
 
 47 YOUNG DAIMIO WITH FALCON. Artist, Katsugawa Shunko. 
 
 Signed. Yedo, about 1780. Lent by Mr. W. Anderson. 
 
 48 FALCON. Artist, Tomikawa Fusanobu Ginsetsu. Signed, Tomikawa 
 
 Fusanobu. Kioto, about 1765. Lent by Mr. VV. Anderson. 
 
 Ginsetsu is chiefly known as an illustrator of Novelettes. His single-sheet 
 pictures are rare. 
 
8 
 
 49 GIRL WITH ATTENDANTS. Artist, Isoda Shobei, or Koriusai. 
 
 Signed, Koriusai. Yedo, about 1780. Le7it by Mr. W. Anderson. 
 
 50 I. MUMMERS. 2. KOREANS. Artist, Hokusai (Katsugawa Shunro). 
 
 Signed, Shunrd. Kioto, about 1775. Lent by Mr. W. Anderson. 
 Drawn while Hokusai was a pupil of Katsugawa Shunsho. 
 
 51 ACTORS. Artist, Katsugawa Shunsh5. Signed. Yedo, about 1770. 
 
 Lent by Mr. W. Anderson. 
 
 52 STREET SCENE. Artist, Koyekawa Shunch5. Signed, Shunchd. 
 
 Yedo, about 1780. Lent by Mr. IV. Anderson. 
 
 53 GIRLS CULLING FLOWERS BY NIGHT. Artist, Tsubo Toshimitsu 
 
 or Shunman. Signed, Toshimitsu. Osaka, about 1780. 
 
 Lent by Mr. IV. Anderson. 
 
 54 SPRING PICNIC. Artist, Koyekawa Shuncho. Signed, Shuncho. Yedo, 
 
 about 1780. Lent by Mr. Ernest Satow, C.M.G. 
 
 55 GIRLS EXAMINING ROLLS AND PAINTING FANS. Artist, 
 
 Hosoi" Yeishi. Signed, Yeishi. Yedo, about 1790. 
 
 Lent by Mr. W. Anderson. 
 
 56 SCENE IN A HOUSE OF ENTERTAINMENT. Artist, Koyekawa 
 
 Shunchd. Signed, Shuncho. Yedo, about 1780. 
 
 Lent by Mr. W. Anderson. 
 
 57 PEACOCK AND PEONIES. From the Toriyama Sekiyen Gzuafu 
 
 (see Nos. 391-2). Artist, Toriyama Sekiyen Toyofusa. Yedo, 
 1 77 1. Le7it by Mr. W. Anderson. 
 
 ORIGINAL DRAWING FOR THE ENGRAVER. 
 
 58 ROADSIDE SCENE. "The Magnifying Glass." Artist, Hokusai. 
 Signed, Sen Hokusai Man. Yedo, about 1830. 
 
 Le7tt by Mr. W. Anderson. 
 
 One of a set of a hundred pictures illustrating poetical quotations, originally 
 drawn for the engraver. A portion were actually executed in wood and 
 printed in colours, but for some reason the work was never completed. 
 The remaining sketches are in the possession of Mr. Ernest Hart. Such 
 
drawings were made upon very thin paper specially prepared for the 
 purpose, and when handed to the engraver were pasted face downwards 
 upon the wood block. As much of the paper as obscured the design 
 was then scraped away, and the interspaces between the outlines were 
 afterwards followed with the cutting tools in the manner already described. 
 Where the artist wished to correct his work, he cut out the defective portion 
 of the drawing and neatly inserted a new piece. This has been done 
 in the specimen before us. 
 
 STENCIL PRINT. 
 
 59 HAWK AND WILD GOOSE. Printed on silk. Artist unknown. Shij5 
 School. Kioto, 1879. Lent by Mrs. W. Anderson. 
 
 Processes of stencilling have been applied to the decoration of wall-papers, 
 textile fabrics, and leather for a long period. In the latter part of the 
 seventeenth century, a workman named Yuzen adopted the use of stencil 
 plates to obtain pictorial effects in colours for various industrial purposes, 
 and some designs executed in this manner to imitate painted kakemonos 
 may be seen in the British Museum Collection. It is employed with 
 remarkable success in Kioto as an adjunct to embroidery, and the result 
 is often very difficult to distinguish from hand painting. 
 
 CHROMO-XYLOGRAPHS (contimted). 
 
 60 SCENES IN HOUSE OF ENTERTAINMENT. Artist, Hosof 
 Yeishi. Signed, Yeishi. Yedo, about 1800. 
 
 Lent by Mr. Ernest Satow, C.M.G. 
 
 61' NEW YEAR'S PROCESSION OF GIRLS. Artist, Hosof Yeishi. 
 Signed, Yeishi. Yedo, about 1790. Lent by Mr. IV. Anderson. 
 
 62 PEACOCK AND PEONIES. See 57. Lent by Mr. W. Andersofi. 
 
 63 DAIMIO'S MANSION. Men personated by rats. Artist, Utagawa 
 
 Toyoharu. Signed. Yedo, about 1780. Lent by Mr. W. Anderson. 
 
 The delineation of animals of various kinds engaged in the occupation or 
 amusements of mankind has been a favourite subject amongst the Japanese 
 artists from a very early period. Toba Sojo (12th century) and some of 
 the painters of the Tora school have left curious examples of this motive. 
 
lO 
 
 64 PORTRAITS OF WOMEN. Artist, Kitawo Masanobu. Signed. 
 
 Yedo, about 1800. Letit by Mr. W. Anderson. 
 
 The designer, whose real name was Kioya Denzo, is famous as a novelist 
 under the name of Kioden. As an artist he was a pupil of Kitawo 
 Shigemasa, a portion of whose name more Japonico he assumed in com- 
 pliment to his teacher. 
 
 65 SCENE OF THEATRE. Artist, Utagawa Kunimitsu. Signed, Kunimitsu, 
 
 pupil of Toyokuni. Yedo, about 1820. Lent by Mr. W. Anderson. 
 
 66 MEMORIAL PORTRAIT OF UTAGAWA TOYOKUNI (d. 1825, 
 
 aet. 56). Artist, Utagawa Kunisada. Signed. Yedo, 1825. 
 
 Lent by Mr. W. Anderson. 
 
 It appears to have been the custom to publish memorial portraits after the 
 death of actors and others, who had done notable service in the cause 
 of the drama. The personage was depicted in his ceremonial attire, 
 and a few biographical facts were noted upon the margin of the sheet. 
 Another example occurs in No. 119. 
 
 67 GIRL. Artist, Katsugawa Shunsen. Signed. Yedo, about 1800. 
 
 Lent by Mr. W. Anderson. 
 
 68 ACTORS. Artist, Utagawa Toyokuni. Signed. Yedo, about 1800. 
 
 Lent by Mr. W. Anderson. 
 
 69 PORTRAITS OF WOMEN. Artist, Utagawa Toyokuni. Signed. Yedo, 
 
 about 1 8 10. Lent by Mr. W. Anderson. 
 
 70 ACTORS. Artist, Utagawa Toyokuni. Signed. Yedo, about 18 10. 
 
 Lent by Mr. W. Anderson. 
 
 71 ACTORS. Artist, Utagawa Toyokuni. Signed. Yedo, about 1800. 
 
 Lent by Mr. W. Anderson. 
 
 72 PORTRAITS OF WOMEN. Artist, Kitawo Masanobu. Unsigned. 
 
 Yedo, about 1800. Le7it by Mr. W. Andersoii. 
 
 73 ACTOR. Artist, Utagawa Toyokuni. Signed. Yedo, about 1820. 
 
 Lent by Mr. W. Anderson. 
 
II 
 
 74 URASHIMA AND THE SEA MAIDEN. Artist, Kitagawa Utamaro. 
 
 Unsigned. Yedo, about 1800. Lent by Mr. W.Anderson. 
 
 This story, a familiar one to every Japanese, is near a thousand years old. 
 Urashima was a Japanese of ancient times. One day, while still a youth, he 
 was lured across the sea by a strange maiden, who led him to a submarine 
 kingdom and married him. After what had appeared but a few years of 
 perfect happiness, he began to long for a sight of his family and friends, 
 and with difficulty obtaining permission from his wife, departed, bearing 
 as a parting gift a casket, which he was enjoined to leave unopened. He 
 reached his native shore again in safety and sought his former home, but 
 place and people, speech and manners, all seemed new to him, and his 
 name was recognized only by an old man, whose memory had treasured 
 a far-off tradition that one Urashima had disappeared three hundred years 
 before and was never heard of again. The wanderer, maddened by 
 astonishment and grief, tore open the casket, hoping to find a clue to 
 the secret, but nothing met his gaze save a thin cloud which rose slowly 
 into the air and was wafted away. As he looked upon it a sudden change 
 came over him. His eyes became dim, his rounded limbs began to wither 
 and tremble beneath him, his locks turned grey and fell from his hollow 
 temples, and all the signs of an age greater than ever before seen by man 
 came upon him within a moment ; and as the last wreath of the mysterious 
 vapour eddied away, he fell to the earth a shrivelled corpse. It was his 
 youth that had been imprisoned within the casket, and his insane curiosity 
 had lost him immortality. 
 
 There are several Chinese stories of the same type. Some of these are briefly 
 related in the Catalogue to the Japanese and Chinese Prints in the British 
 Museum (p. 107). 
 
 75 COURT LADY AND ATTENDANTS. Artist, Kitagawa Utamaro 
 
 Signed. Yedo, about 1800. Lent by Mr. W. Anderson. 
 
 76 WOMEN CROSSING THE TAMA RIVER. Artist, Utagawa Toyokuni. 
 
 Signed. Yedo, about 18 10. Lent by Mr. W. Anderson. 
 
 77 GIRLS FISHING IN THE TAMA RIVER. Artist, Utagawa 
 
 Toyokuni. Signed. Yedo, about 18 10. 
 
 Lent by Mr. W. Anderson. 
 
 78 HOTEL AT KUSATSU. Artist, Kitagawa Tsukimaro. Yedo, about 
 
 1 8 10. Lent by Mr. W.Anderson. 
 
 Kusatsu is famous for its thermal springs, which are reputed to have great 
 curative powers in various diseases. 
 
 79 ACTORS. Artist, Utagawa Toyokuni. Signed. Yedo, about 18 10. 
 
 Lent by Mr. W. Anderson. 
 
12 
 
 80 GIRLS IN A RIVERSIDE TEAHOUSE. Artist, Utagawa Kuninaga. 
 
 Signed. Yedo, about 1800. Lent by Mr. W. Anderson. 
 
 81 ACTORS. Artist, Utagawa Toyokuni. Signed. Yedo, about 1800. 
 
 Lent by Mr. W. Anderson. 
 
 82 ACTOR. Artist, Utagawa Toyokuni. Signed. Yedo, about 1798. 
 
 Lent by Mr. W. A nderson. 
 
 83 GIRL WITH CUP-STAND. Artist, Utagawa Toyokuni. Signed. 
 
 Yedo, about 1820. Lent by Mr. W. Anderson. 
 
 84 GIRL. Artist, Kikugawa Yeizan, Signed. Yedo, about 1800. 
 
 Lent by Mr. W. Anderson. 
 
 85 SCENE IN A HOUSE OF ENTERTAINMENT. Artist, Kitagawa 
 
 Utamaro. Signed. Yedo, about 1800. L^ent by Mr. W.Anderson. 
 
 85a GIRLS MOUNTING PICTURES AND BLOWING GLASS. 
 Artist, Kitagawa Utamaro. Signed. Yedo, about 1800. 
 
 Lent by Mr. W. Aitderson. 
 
 86 SCENE IN A HOUSE OF ENTERTAINMENT. Artist, Hosof 
 
 Yeishi. Signed, Yeishi. Yedo, about 1800. 
 
 Lent by Mr. W. Anderson. 
 
 87 GIRL-STUDENTS READING. Artist, Yanagiya. Signed. Yedo, 
 
 about 1800. Lettt by Mr. W. Anderson. 
 
 88 I. LIUKIU ISLANDER. 2. CHINESE BOY. Artist unknown. Yedo, 
 
 about 1770. Lent by Mr. IV. A?iderson. 
 
 89 ACTOR. Artist, Utagawa Toyokuni. Signed. Yedo, about 18 10. 
 
 Lent by Mr. W. Anderson. 
 
 90 ACTOR. Artist, Utagawa Toyokuni. Signed. Yedo, about 18 10. 
 
 Lent by Mr. W Anderson. 
 
 91 FEMININE OCCUPATIONS— Reading, Sewing, and Music. Artist, 
 
 Kitagawa Utamaro. Signed. Yedo, about 1800. 
 
 Lent by Mr. W. Anderson. 
 
13 
 
 92 ACTORS. Artist, Utagawa Toyokuni. Signed. Yedo, about 1805. 
 
 Lent by Mr, IV. Anderson. 
 
 93 DAIKOKU. Artist, Shogetsu. Signed. Yedo, about 1800. 
 
 Lent by Mr. W. Atiderson. 
 
 Daikoku, originally the Indian divinity Mahakala, has been divested of his 
 terrors by the Japanese artist, and has undergone conversion into a popular 
 god of commercial prosperity. His attributes are a wealth-giving mallet, 
 a pair of rice bales, and a white rat. 
 
 94 GIRLS CONVERSING. Artist, Choki. Signed. Kioto, about 1780. 
 
 Lejit by Mr. Ernest Satow, C.M.G. 
 
 95 I. SNOW SCENE. 2. THE MONKEY LEADER. Artist, Kitagawa 
 
 Utamaro. Unsigned. Yedo, about 1800. 
 
 Lent by Mr. W. Anderson. 
 
 96 MUMMERS. New Year's Amusements. Artist, Kitagawa Utamaro. 
 
 Yedo, about 1800. Lent by Mr. W. Afiderson. 
 
 97 PORTRAIT OF GIRL. Artist, Utagawa Toyohiro. Signed. Yedo, 
 
 about 1 800. Lent by Mr. Ernest Satow. 
 
 98 GIRLS PICKING WILLOW FLOWERS. Artist, Kitawo Keisai Masa- 
 
 yoshi. Signed, Masayoshi. Yedo, about 1795. 
 
 Lent by Mr. IV. Anderson. 
 
 99 GIRL. Enamelled background. Artist, Kitagawa Utamaro. Signed. 
 
 Date about 1800. Lent by Mr. W. Anderson. 
 
 The background is decorated with powdered mother-of-pearl, a favourite 
 material in the printing of wall papers. 
 
 100 MIKADO AND COURT LADY. Artist, Kitawo Kosuisai Shigemasa. 
 
 Unsigned. Yedo, about 1790. Lent by Mr. W. Anderson. 
 
 101 GIRL PRESENTING LETTER. Artist, Utagawa Kunikage. Signed. 
 
 Yedo, about 1830. Lent by Mr. W.Anderson. 
 
 102 ACTOR. Artist, Utagawa Kunisada. Signed, Gototei Kunisada. Yedo, 
 
 about 1820. Lent by Mr, W. Anderson, 
 
14 
 
 103 SCENE OF THEATRE. Artist, Utagawa Kunisada. Signed Gototei 
 
 Kunisada. Yedo, about 1825. Lent by Mr. W.Anderson. 
 
 104 GIRLS WITH BATTLEDORE ; ACTOR DANCING. Artist, 
 
 Utagawa Kunisada. Signed, Gototei Kunisada. Yedo, about 1820. 
 
 Lent by Mr. W. Anderson. 
 
 105 WOMEN IN PROCESSIONAL ATTIRE. Artist, Kikugawa Yeizan. 
 
 Signed. Yedo, about iSoo. Lent by Mr. W. Anderson. 
 
 106 BENKEI CARRYING AWAY THE GREAT BELL OF MIIDERA. 
 
 Artist, Hokusai. Signed, Hokusai Tamekadzu. Yedo, about 1830. 
 
 Lent by Mr. W. Anderson. 
 
 Benkei was a hero of the 12th century, famous for his great strength and for 
 his devotion to the Japanese Bayard, Yoshitsun6. The feat here depicted 
 was an incident of his early career, and it is said that the bell after its 
 removal from its temple home refused to give forth aught but a whining 
 note, which sounded like Miidera ikomai, " I want to go back to Miidera." 
 
 107 TWO VIEWS OF MOUNT FUJI. Artist, Hokusai. Signed, Sen 
 
 (formerly) Hokusai, Tamdkadzu. Yedo, about 1825. 
 
 Lent by Mr. W. Anderson. 
 
 These belong to a set of engravings known as the Thirty-six Views of Fuji ; the 
 number, however, exceeded forty. 
 
 108 THE SHORE OF l^NOSHIMA. Artist, Hokusai. Signed, Hokusai 
 
 Sdri. Yedo, about 1798. Lent by Mr. W. Anderson. 
 
 109 TWO NEW YEAR'S CARDS, (i) Falcon. (2) Girl playing with ball. 
 
 Artist, Hokkei. Yedo, about 18 10. 
 
 Letii by Mr. Ernest Satow, CM.G. 
 
 110 PORTRAITS OF ACTORS, IN KAKEMONO MOUNT. New year's 
 
 card. Artist, Utagawa Toyokiyo. Signed. Yedo, about 1820. 
 ■ Lent by Mr. W. Anderson. 
 
 lllA THE ANCIENTS OF TAKASAGO AND HARIMA. Artist, 
 Hokusai. Yedo, about 1800. Lent by Mr. W, Anderson. 
 
 Old man and woman ; characters in an ancient play or recitation. They are 
 regarded as types of Longevity. See the " Chiushingura, or the Loyal 
 . . - Renins," by F. V. Dickins. 
 
15 
 
 111b "WIFE AND HUSBAND ROCKS" OF FUTAMI. The Holiday- 
 makers. Artist, Katsugawa Shunsen. Yedo, about 1810. 
 
 Lent by Mr. IV. Anderson. 
 
 These curious rocks stand on the shore of Is6, side by side, rising like twin 
 giants high above the waves, and are joined together by a band of straw, 
 which is believed to serve as a talisman against evil influences. 
 
 112 VIEWS OF THE TON^ RIVER. Artist, Hokusai. Signed, Hokusai 
 
 Tamekadzu. Yedo, about 1825. Lent by Mr. W. Anderson. 
 
 113 VIEW OF THE PEERLESS MOUNTAIN FROM THE TOKAIDO. 
 
 Artist, Hokusai. Signed, Hokusai Tamekadzu. Yedo, about 1825. 
 
 Lent by Mr. W. A?idersott. 
 
 114 CARP, Artist, Hokusai. Signed, Hokusai Tamekadzu. Yedo, about 
 
 1830. Letit by Mr. W. A7iderson. 
 
 115 POPULAR SKETCHES. Artists, Nangaku and Genran. Signed. 
 
 Yedo, about 1820. Lent by Mr. W. Anderson. 
 
 116a view of MOUNT FUJI. Artist, Hokusai. Signed, Hokusai 
 Tamekadzu. Lent by Mr. W. Anderson, 
 
 B VIEW IN LIUKIU. Artist, Hokusai, after Nakajima Soyen. Signed, 
 Hokusai Tamekadzu. Yedo, about 1830. 
 
 Lent by Mr. W. Anderson. 
 
 117 SCENE FROM THE PLAY OF THE "LOYAL LEAGUE." 
 
 Artist, Katsugawa Shuntei. Signed. Yedo, about 1820. 
 
 Lent by Mr. W. Anderson. 
 
 A translation of this play has been published by Mr. F. V. Dickins. 
 
 118 TWO NEW YEAR'S CARDS, i. Daikoku, by Hokusai. 2. Kintoki 
 
 and the Rice-Cake, by Hokkei. Yedo, about 18 10. 
 
 Lent by Mr. Ernest Satow, C.M.G. 
 
 Daikoku is one of the Seven Gods of Good Fortune of the Japanese. He 
 is here producing his six fellow divinities from a bag. See ' Catalogue 
 of Japanese and Chinese Pictures in the British Museum.' 
 
 Kintoki was a hero of the tenth century, whose childhood was distinguished by 
 great feats of strength. 
 
i6 
 
 119 MEMORIAL PORTRAIT OF DECEASED ACTOR. Artist, 
 
 Utagawa Kunisada. Signed, Ichiyusai Kunisada. Yedo, 1817. 
 
 Lent by Mr. W. Anderso7i. 
 
 120 ACTOR. Artist, Utagawa Toyokuni. Signed. Yedo, about 1820. 
 
 Lent by Mr. W. Anderson. 
 
 121 NEW YEAR'S CARD. Asahina trying to break the rice cakes. Artist, 
 
 Utagawa Toyohiro. Signed, Asahina Toyohiro. Yedo, about 18 10. 
 
 Lent by Mr. W. Anderson. 
 
 Asahina was a Japanese hero of the 12th century, famed for his great strength. 
 He is said to have visited Hades, and there to have vanquished the retainers 
 of the Buddhistic Pluto. 
 
 122 PORTRAITS OF WOMEN. Artist, Utagawa Kunisada. Signed, 
 
 Kochoro Kunisada and Gototei Kunisada, Yedo, about 1820. 
 
 Lent by Mr. W. Anderson. 
 
 123 PORTRAITS OF WOMEN. Artist, Kikugawa Yeizan. Signed. Yedo, 
 
 about 1800. Lent by Mr. W. Anderson. 
 
 124 ACTORS. Artist, Utagawa Kagetoshi. Signed, Kagetoshi, "pupil of 
 
 Gochotei." Yedo, about 1820. Lent by Mr. W. Anderson. 
 
 125 GIRL CUTTING OUT DRESS. New Year's Card. Artist, Hokkei. 
 
 Yedo, about 18 10. Lent by Mr. W. Anderson. 
 
 126 ACTORS. Artist, Utagawa Kuniyasu. Signed, Ojiii Kuniyasu. Yedo, 
 
 about 1825. Lent by Mr. W.Anderson. 
 
 127 WOMAN AND PEONIES. Artist, Utagawa Kunimaru. Signed, Cho- 
 
 muro Kunimaru. Yedo, about 1820. Lent by Mr. W. Anderson. 
 
 128 PORTRAITS OF WRESTLERS. Artist, Utagawa Kunisada. Signed. 
 
 Kochoro Kunisada. Yedo, about 1830. Lent by Mr. W. Anderson. 
 
 129 ACTOR. Artist, Ichiriusai Hiroshige (1797-1858). Signed, Hiroshige. 
 
 Yedo, about 1830. Lent by Mr. W. Anderso7t. 
 
 This picture is in the style of Utagawa Toyohiro, of whom the artist was at first 
 a pupil. Compare with his later work, 136 ^/ seg. 
 
130 ACTORS ; with patterns of dresses worn by celebrated performers. 
 
 Artist, Gokitei Sadafusa. Signed. Yedo, about 1835. 
 
 Lent by Mr. IV. Anderson. 
 
 131 ACTOR. Artist, Utagawa Kuniyasu. Signed. Yedo, about 1820. 
 
 Lent by Mr. W. Anderson. 
 
 132 FRONTISPIECE TO THE "EIGHT VIEWS OF ITSUKUSHIMA." 
 
 Pilgrims and holiday makers before the great gateway of the 
 Temple. Artist, Gakutei. Signed, Gakutei Kadzumaro. Yedo, 
 about 1825. Lent by Mr. W. Afiderson. 
 
 133 ACTOR. Artist, Utagawa Kunisada. Signed, Toyokuni. Yedo, about 
 
 1850. Lent by Mr. W. Atiderson. 
 
 134 GIRL IN RAIN SHOWER. Artist, Utagawa Kunisato. Signed. 
 
 Yedo, about 1840. Lent by Mr. W.Anderson. 
 
 135 ACTOR. Artist, Utagawa Kunisada. Signed, Gototei Kunisada. Yedo, 
 
 about 1820. Lent by Mr. W.Anderson. 
 
 136 VIEW OF MOUNT FUJI FROM THE SHORE OF THE 
 
 SAGAMI GULF— Evening. Artist, Hiroshig^. Signed. Yedo, 
 about 1840. Lent by Mr. W.Anderson. 
 
 137 SCENE OF THEATRE. Artist, Has^gawa Sadanobu. Signed. Osaka, 
 
 about 1830. Lent by Mr. W.Anderson. 
 
 138 AUTUMN— VIEW OF ARASHIYAMA, near Kioto. Artist, Ris5. 
 
 Yedo, about 1845. 
 
 Lent by Mr. W. Anderson. 
 
 New Year's Card, drawn in the style of the Shijo Naturalistic School. 
 
 139 VIEWS ON THE TOKAIDO. a. Mishima. b. Hara— Winter 
 
 Scene with Mount Fuji. Artist, Hiroshig^. Yedo, about 1845. 
 
 Lent by Mr. W. Anderson. 
 
 140 THE TOILET. Artist, Kunisada. Signed, Toyokuni the Second, 
 
 late Kunisada. Date about 1845. Lent by Mr. E. Satow, C.M.G. 
 
 Kunisada adopted the name of his teacher in 1 844, and for a year or two signed 
 himself as above. 
 
141 VIEW OF UYENO, YEDO— The Cherry Blossom Festival. Artist, 
 
 Sekkio. Yedo, about 1810. Lent by Mr. W. Anderson. 
 
 142 VIEWS ON THE TOKAIDO. Artist, Hiroshige. Signed. Yedo, 
 
 about 1850. Lent by Mr. W. Anderson. 
 
 143 TAMETOMO AND THE PRINCESS MEETING ON THE 
 
 SHORE OF LIUKIU. Artist, Tsukioka Yoshitoshi (or Honen). 
 Yedo, about 1830. 
 
 Lent by Mr. W. Anderson. 
 
 Tametomo was a famous warrior and archer, who lived at the latter part of 
 the 12th century. He was banished from Japan, and is believed to have 
 settled in Liukiu, his son becoming the first historical king of this tributary 
 group of islands. 
 
 144 VIEW NEAR YEDO— Rain Scene in June. Artist, Hiroshige. Yedo, 
 
 about 1850. Lejtt by Mr. W.Anderson. 
 
 145 WOMAN: NIGHT SCENE. Artist, Utagawa Kuninori. Signed, 
 
 Ichiyeisai Kuninori. Yedo, about 1840. 
 
 Lent by Mr. W. Anderson. 
 
 146 ACTOR. Artist, Utagawa Kunisada. Signed, Got5tei Kunisada. 
 
 Yedo, about 1820. Lent by Mr. W. Anderson. 
 
 147 SCENES ILLUSTRATING THE CHINESE STORIES OF "THE 
 
 PARAGONS OF FILIAL PIETY." Book Illustrations. Artist, 
 Giokuransai Sadahid^. Signed. Yedo, about 1845. 
 
 Lent by Mr. W. Anderson. 
 
 a. Wu Meng. A child exposing his body to the bites of the mosquitos, to 
 divert their attacks from his parent. 
 
 h. Luh Sii. A boy who has secreted some oranges given him to eat by his 
 entertainers, in order to present them to his mother on his return home. 
 
 c. Meng Tsung. A man seeking bamboo shoots in winter to make a soup for 
 which his sick mother was craving. By a miraculous interposition of the 
 gods the young plants were made to spring up out of their season. 
 
 The stories, twenty four in number, are told in the Catalogue of Japanese and 
 Chinese Pictures in the British Museum. 
 
^9 
 
 148 THE GREAT STORM IN THE BAY OF OURA. Artist, Kunisada. 
 
 Signed, Gototei Kunisada. Yedo, about 1830. 
 
 Lent by Mr. W. Anderson. 
 
 The Ghosts of the slain Reiki clan are threatening the ship that bears Benkei 
 Yoshitsun^ and the party of the rival faction (13th century). 
 
 The battle of Yashima in 1185 a.d. was the closing episode of the Japanese 
 " War of the Roses," which had commenced nearly thirty years before. After 
 the death of the all-powerful Taira regent Kiyomori, the fortunes of his 
 house began to fail, and at last, in 11 84, the adherents of his son were 
 driven by the Minamoto army from their strongholds, the last of which was 
 the castle of Yashima, and were forced to stake their final hopes upon a sea- 
 fight at Dan-no-ura in the straits of Shimo-no-S6ki. The cast of the die 
 was against the unfortunate house of the Tairas. Owing partly to the valour 
 and address of the Minamoto leader Yoshitsun6, and partly to treachery in 
 the ranks of the defeated host, the entire clan, save a few who escaped to 
 Kiushiu, were slain or drowned in the crimsoned waters, where it is believed 
 to this day that from time to time their ghosts may still be seen, bathed in 
 phosphorescent light, baling the fatal sea with bottomless ladles. 
 
 The account of this bloody battle forms one of the most startling pages 
 of Japanese history, and its various incidents have been illustrated countless 
 times by the sculptor and the painter. The principal events in connection 
 with it have been related by Mr. Grifl5s in "The Mikado's Empire." 
 
 149 INTERIOR OF NAKAMURA THEATRE, YEDO. The Gakuya 
 
 or Green Room. Portraits of Actors. Artist, Kunisada. Signed. 
 Yedo, about 1830. Lent by Mr. W. Anderson. 
 
 150 INTERIOR OF MORITA THEATRE. Dressing-rooms and staircase. 
 
 Portraits of Actors. Artist, Kunisada. Signed. Yedo, about 1830. 
 
 Lent by Mr. W. Anderson. 
 
 151 RIOGOKU BRIDGE, YEDO. With portraits of Actors. Artist, Kuni- 
 
 sada. Signed. Yedo, about 1830. Lent by Mr. W. Andersoti. 
 
 152 LITTLE PEACHLING AND HIS COMRADES. Artist, Utagawa 
 
 Kuniyoshi. Signed, Ichiyusai Kuniyoshi. Yedo, about 1820. 
 
 The story is told in Mitford's Tales of Old Japan. 
 
 153 SOGA NO JURO AND SOGA NO GORO AT THE DOORS OF 
 
 KUDO SUKETSUNE. Night Scene. Artist, Kuniyoshi. 
 Signed, Choworo Kuniyoshi. Yedo, about i860. 
 
 Lent by Mr. W. Anderson. 
 
 Juro and Goro were two brothers whose father had been destroyed by a noble 
 in the service of Yoritomo, named Kudo Suk^tsun^. Having determined 
 
20 
 
 to take vengeance, they gained access to the house of Suk^tsune in tlie 
 dead of night, awoke him to reveal themselves, and then slew him. In 
 the alarm which followed, the elder was killed, and the younger taken 
 prisoner. The survivor's youth and boldness excited general pity, but 
 the clamour of the son of Suketsune secured his condemnation. Temp. 
 1 2th century. 
 
 154 WOMAN. Artist, Keisai Yeisen. Signed. Yedo, about 1845. 
 
 Lent by Mr. W. Anderson. 
 
 155 BOOK-COVER ILLUSTRATIONS. Portraits of Characters in the 
 
 Story. Printed on crepe paper. Artist, Kunisada (Toyokuni the 
 Second). Signed, Toyokuni. Yedo, about 1855. 
 
 Lent by Mr. IV. Anderson. 
 
 156 VIEW ON THE TOKAIDO. Kamiyama. Winter Scene. Artist, 
 
 Hiroshige. Yedo, about 1840. 
 
 Lent by Mr. W. Ajiderson. 
 
 157 WINTER SCENE. Printed on " crepe paper." Artist, Hiroshige. 
 
 Yedo, about 1850. Lent by Mr. H. Virtue Tebbs. 
 
 158 YOJIHEI LEAPING INTO THE SEA to Appease the Anger of 
 
 THE Gods during the Great Storm in the Straits of 
 MaiitA. Artist, Kuniyoshi. Signed, Ichiyusai Kuniyoshi. Yedo, 
 about 1835. Lent by Mr. W. Anderson. 
 
 159 INTERIOR OF SARUWAKA THEATRE, YEDO. (A portion of 
 
 the picture is wanting.) Artist, Kunisada. Signed, Ichiyijsai Oko 
 Toyokuni. Yedo, about 1845. Lent by Mr. W.Anderson. 
 
 160 TOMOMORI AT THE BATTLE OF YASHIMA (13th century). 
 
 Artist, Kuniyoshi. Signed, Ichiyiisai Kuniyoshi. Yedo, about 1855. 
 
 Lent by Mr. W. Anderson. 
 See note to No, 148. 
 
 161 THE BATTLE OF THE UJI RIVER. An incident of the Wars of 
 
 the Genji and Heiki. Artist, Kuniyoshi. Signed, Ichiyusai 
 Kuniyoshi. Yedo, about 1855. Lent by Mr. W.Anderson. 
 
 See note to No. 148. 
 
 162 SCENE OF THEATRE. Artist, Kunisada. Signed, Gototei Kunisada. 
 
 Yedo, about 1825. Lent by Mr. W. Anderson. 
 
21 
 
 163 I. MATSUNAGA DAIZEN HISAHID^ about to commit Suicide in 
 
 Expiation of the Destruction by the Enemy of one of the Heirlooms 
 of his Lord. Temp. 15th century. 2. PORTRAIT OF SAITO 
 KURANOSHIN KADZUNOSUKE — a celebrated retainer of 
 the Governor of Tamba : temp. 15th century. Artist, Kuniyoshi. 
 Signed, Ichiyusai Kuniyoshi. Yedo, about 1840. 
 
 Lent by Mr. W. Anderson, 
 
 164 PRAYERS FOR THE DEAD AFTER THE GREAT EARTH- 
 
 QUAKE OF YEDO (1857). The corpses, some horribly mutilated, 
 are listening to the ministration of the priest. Artist, Kuniyoshi. 
 Unsigned. Yedo, 1857. Lent hy Mr. W.Anderson. 
 
 165 SNOW SCENE ON THE TOKAIDO. Printed on crepe paper. Artist, 
 
 Hiroshige. Signed, Ichiriusai Hiroshige. Yedo, about 1845. The 
 impression exhibited is of later date. Lent by Mr. W. Anderson. 
 
 163 VIEW FROM ASAKUSA TAMBO, near Yedo. Artist, Hiroshige. 
 Yedo, about 1845. Lent by Mr. W. Anderson. 
 
 167 VIEW OF BRIDGE, the O-bashi, near Yedo— Rain scene. Artist, 
 
 Hiroshig^. Yedo, about 1845. Lent by Mr. W. Anderson. 
 
 168 VIEWS NEAR YEDO. i. Storm in Shono. 2. The Autumn Moon 
 
 on the banks of the Tama. Artist, Hiroshige. Signed. Yedo, 
 about 1845. Lent by Mr. W. Anderson. 
 
 169 YOSHITSUN^ AND BENKEI FIGHTING ON GOJO BRIDGE. 
 
 (Portraits of Actors.) Artist, Kuniyoshi. Signed, Ichiyusai 
 Kuniyoshi. Yedo, about 1835. Lent by Mr. W. Anderson. 
 
 170 VIEW OF MOUNT TEMPO, near Osaka, WITH Holiday Makers. 
 
 Artist, Sadamasa. Signed, Utagawa Sadamasa, pupil of Kunisada. 
 Osaka, about 1845. Lent by Mr. W. Afiderson. 
 
 171 KUMAGAY^ AND ATSUMORI. Artist, Katsugawa Shunzan. Signed. 
 
 Yedo, about 1820. Le7tt by Mr. W. Anderson. 
 
 This picture represents a familiar incident in the " Wars of the Roses " in the 
 1 2th century, between the rival clans of Genji and Heiki (see note to 
 No. 148). Kumagay6, an aged warrior, meeting a young foeman, a mere 
 boy, clad in all the bravery of his new military rank, fought and slew him ; 
 but after the act, moved to pity by the youth and beauty of his victim, cast 
 aside his arms for ever and retired into the bosom of the Buddhist church. 
 
22 
 
 172 VIEWS ON THE TOKAIDO, first and last of the Series, i. Nihon 
 
 Bridge, Yedo. 2. Kioto. Artist, Hiroshig^. Yedo, about 1845. 
 
 Lent by Mr. W. Anderson. 
 
 173 VIEWS OF YEDO — Chtchibuyama and Kudanzaka. Artist, 
 
 Hiroshige. Signed. Yedo, about 1845. 
 
 Lent by Mr. W. Anderson. 
 
 174 STREET IN YEDO— Moonlight. Artist, Hiroshig^. Yedo, about 
 
 1845. Lent by Mr. IV. Anderson. 
 
 Remarkable for the representation of projected shadows. 
 
 175 VIEW OF TEMPLE GARDEN AT TSUKIJI, near Mukojima. 
 
 Artist, Hiroshige. Yedo, about 1845. Lent by Mr. IV. Anderson. 
 
 It will be noticed that the artist has represented the reflected images of the 
 trees in the waters of the lake. This is a great innovation in Japanese 
 art, as reflections were never depicted unless the story calls for their 
 introduction. 
 
 176 ACTORS. Artist, Shigeharu. Signed, Riusai Shig^haru. Osaka, about 
 
 1850. Lent by Mr. W. Aftderson. 
 
 177 PORTRAITS OF GIRLS. Artist, Kuniyoshi. Signed, Ichiyusai 
 
 Kuniyoshi and Choworo Kuniyoshi. Yedo, about 1840. 
 
 Lent by Mr. W. Anderson, 
 
 178 ACTORS. Artist, Kuniyasu. Signed. Yedo, about 1820. 
 
 Lent by Mr. W. Anderson, 
 
 179 THE TENT OF KUDO SAYEMON SUKETSUN^ AT NASUNO- 
 
 GAHARA. (End of 12th century.) Artist, Hiroshige. Signed. 
 Yedo, about 1850. Lent by Mr. W. Anderson. 
 
 See note to No. 153. 
 
 180 THE DESERTED MANSION. Artist, Kuniyoshi. Signed, Ichiyusai. 
 
 Yedo, about 1850. Lent by Mr. W. Anderson. 
 
 An incident in a popular story : the three braves, Takagi Umanosuk^, Nagoya 
 Sanzaburo, and Fuwa Hanzayemon, are seen defying the spectres that 
 haunted the deserted house. 
 
23 
 
 181 SCENE FROM THE STORY OF "THE TONGUE-CUT SPARROW." 
 
 Artist, Yoshimori. Signed. Yedo, about 1855. 
 
 Lent by Mr. W. Anderson. 
 
 See Mitford's "Tales of Old Japan." The old woman is being tortured by the 
 goblins that escape from the box given to her by the sparrow which 
 she had cruelly treated ; while good spirits, in the form of sparrows, 
 emerging from the case given to her good husband, engage the demons. 
 
 182 "RETRIBUTION." Scene of Theatre. Artist, Kunisada. Signed, 
 
 Ichijiusai Toyokuni. Date about 1845. 
 
 Lent by Mr. W. Atiderson. 
 
 183 VIEW NEAR YEDO. Snow Scene. Artist, Hiroshig6. Signed. 
 
 Yedo, about 1840. Lent by Mr. IV. Anderson. 
 
 184 ACTOR. Artist, Sadayuki. Signed, Sadayuki, pupil of Sadamasu. 
 
 Osaka, about i860. Lent by Mr. IV. Ajiderson. 
 
 185 SCENE ON THE TOKAIDO. Fording the Oi River. Artist, Kuni- 
 
 kiyo. Yedo, about 1850. Lent by Air. H. Virtue Tebbs. 
 
 186 ACTOR. Artist, Toyokawa Tamdkuni. Signed. Osaka, about 1850. 
 
 Lent by Mr. IV. Anderson. 
 
 187 GIRL WALKING ON THE BANKS OF THE RIVER SUMIDA. 
 
 Artist, Kuniyoshi. Yedo, about 1850. 
 
 Lent by Mr. W. Anderson. 
 
 188 ACTOR, as Ono no Tofu. Artist, Sadamasu. Signed, Gochotei Sadamasu. 
 
 Osaka, about 1845. Lent by Mr. W.Anderson. 
 
 Ono-no Tofu, a Court Noble and famous calligraphist of the ninth century, is 
 said to have gained a lesson in persevering effort by watching a frog leaping 
 to reach a willow branch and succeeding after many apparently hopeless 
 efforts. 
 
 189 PORTRAIT. Printed in black and two tones of blue. Artist, Keisai 
 
 Yeisen. Signed. Yedo, about 1835. Lent by Mr. W.Anderson. 
 
 190 ACTORS. Artist, Shunchosai Hokucho. Signed. Osaka, about 1840. 
 
 Lent by Mr. W. Anderson. 
 
24 
 
 191 SCENE OF THEATRE. Artist, Shigeharu. Signed, Riusai Shig^haru. 
 
 Osaka, about 1850. Lent by Mr. W. Anderson. 
 
 192 SCENE OF THEATRE. Artist, Hokushiu. Osaka, about 1845. 
 
 Lent by Mr. W. A nderson. 
 
 193 ACTORS. Artists, Shunshi and Shunsh5. Signed. Osaka, about 1835. 
 
 Lent by Mr. W. Artderson. 
 Shunsho, of Osaka, must not be mistaken for Katsugawa Shunsho. 
 
 194 LANDSCAPES, a Daimio's train fording the Oi river, b Panoramic 
 
 View of Coast Scenery. Artist, Giokuransai Sadahide. Signed. 
 Yedo, about 1850. Le7tt by Mr. H. Virtue Tebbs. 
 
 195 ACTORS. Artist, Baisoyen Sadayoshi. Signed. Osaka, about 1850. 
 
 Lent by Mr. W. Anderson. 
 
 196 ACTORS. Artist, Toyokawa Toshikuni. Signed. Osaka, about 1845. 
 
 Lent by Mr. W. Anderson. 
 
 197 ACTORS. — SCENE OF THEATRE. Artist, Hokuyei. Signed. 
 
 Osaka, about 1850. Lejit by Mr. W. Anderson. 
 
 198 ACTORS. Artist, Shigeharu. Signed, Riusai Shigeharu. Osaka, about 
 
 1850. Lent by Mr. W. Anderson. 
 
 199 ACTOR. Artist, Kunihiro. Signed. Osaka, about 1850. 
 
 Lent by Mr. W. Anderson. 
 
 200 SCENE OF THEATRE. Artist, Ashiyuki. Signed, Sengwado Ashi- 
 
 yuki. Osaka, about 1840. Lent by Mr. W. Anderson. 
 
 201 ACTORS. Artist, Yoshikuni. Signed. Osaka, about 1850. 
 
 Lent by Mr. W. Anderson. 
 
 202 ACTOR. Artist, Shunkosai Hokuyei. Signed. Osaka, about 1845. 
 
 Lent by Mr. W. Anderson. 
 
 203 ACTORS. Artist, Kitagawa Toyohide. Signed. Date about 1850. 
 
 Lent by Mr. W. Anderson. 
 
2S 
 
 204 ACTOR. Artist, Shigeharu. Signed, Giokuriutei Shigeharu. Osaka, 
 
 about 1850. Lent by Mr. W. Anderson. 
 
 205 SCENE OF THEATRE. Artist, Kunihiro. Signed. Osaka, about 
 
 1850. Lent by Mr. W. Atiderson. 
 
 206 SCENE OF THEATRE. Artist, Hokusei. Signed, Shunkidsai 
 
 Hokusei, Pupil of Shunkosai. Date, about 1850. 
 
 Lent by Mr. W. Anderson, 
 
 207 ACTOR. Artist, Shigeharu. Signed, Giokuriutei Shigeharu. Osaka, 
 
 about 1850. Lent by Mr. W. A?iderson. 
 
 208 A TRIAL OF STRENGTH between Watanabe no Tsuna and 
 
 Kidomaru, two heroes of the loth century. Artist, Hiroshige. 
 Signed. Yedo, about 1840. Lent by Mr. W. Ajtderson. 
 
 Watanab6 was a retainer of the famous warrior Minamoto no Yorimitsu or 
 Raiko, and is chiefly remembered for his courage in cutting off the arm 
 of a Demon who had seized him and was carrying him away. Kidomaru 
 was a powerful robber, after\vards slain by Raiko. 
 
 -y^l^ 
 
 W 
 
26 
 
 CASE A. EARLY ILLUSTRATED BOOKS. 
 
 17 TH AND I 8 th Centuries. 
 
 251 Is^ monogatari. 2 vols. Ancient Romance. Artist unknown. Designs 
 
 in the style of the Tosa School. Kioto (?), 1608. 
 
 Lent by Mr. W. Anderson. 
 
 This, so far as is yet known, is the earliest illustrated book extant in Japan. 
 The Ise Monogatari dates from the tenth century, and is attributed to the 
 Emperor Kwazan no In (b. 968, d. 1008). It consists merely of a brief 
 account of the amours, travels, and adventures of an unknown hero, desig- 
 nated as " a certain man," who is supposed to represent the famous poet 
 Narihira, but who may be only the impersonal "Somebody" proposed by 
 Mr. Andrew Lang as a substitute in legendary lore for solar myths and 
 prehistoric celebrities. As a story it can boast little incident and no plot ; 
 but it is characterized by the frequent introduction of curious stanzas of an 
 amatory type, and by the subdivision of the work into diminutive chapters 
 each of which begins with the expression " Once upon a time." A transla- 
 tion has been published by Dr. Pfizmaier (Aufzeichnungen aus dem Reiche 
 Is6, Wien, 1876). 
 
 252 Hogejt monogatari. 3 vols. Historical Romance, Illustrations in the 
 
 style of the Tosa School, roughly coloured by hand. Artist un- 
 known. Kioto (?), 1626. Lent by Mr. W. Anderson. 
 
 The hand colouring, which resembles in its roughness and crudeness that of 
 the English chap-books, has been executed before the sale of the volume. 
 The practice appears to have been common before the introduction of 
 chromo-xylography. 
 
 253 Jokid hiden. 3 vols. Pictorial Mirror of Instruction for Women. 
 
 Artist unknown. Yedo, 1649. Lent by Mr. W. Andersoit. 
 
 The morals of the rising generation in Japan have found a fair measure of literary 
 and artistic encouragement and support. This book is probably one of the 
 earliest of the class, and several collections of stories and maxims for the young 
 were illustrated by Nishigawa Suk6nobu, between 1720 and 1768, and from 
 1765 to 1 79 1 by Shimokawab6 Jiusui. Even Tsukioka Tang6, an artist better 
 known for pictures of a more heroic strain, contributed an item in the E-hon 
 Hime bunko, or Young Lady's Companion, in 1760, and many others were 
 added at a later time, amongst which the Doji-kid E-hon, or Boy's Pictorial 
 Instructor, and the Ni-jiu-shi Ko, or Twenty-four Paragons of Filial Piety, 
 
27 
 
 with drawings by Giokuzan ; and the E-hon Onna Imagawa, a collection of 
 notable examples of women, by Hokusai (see Nos. 542 and 342), are the best 
 known. The Doji-kio has been translated by Islr. Chamberlain in the 
 Transactions of the Asiatic Society of Japan for 1882. 
 
 254 Hishigawa ko-gwa. (MS. title.) Miscellaneous Sketches. Artist, Kishi- 
 
 gawa Moronobu. Kioto, N.D. (about 1680). 
 
 Lent by Mr. IV. Andersoii. 
 
 Subject of illustration : Burlesque of Two Popular Divinities, Ebisu, and 
 Daikoku. 
 
 255 Iwaki ye-dsukushi. i vol. Story. Pictures carefully coloured by hand. 
 
 Artist, Hishigawa Moronobu. Yedo, 1682. 
 
 Lent by Mr. W. A^iderson. 
 
 256 Hishigawa ko-gwa. (MS. title.) Drawings of Women. Pictures care- 
 
 fully coloured by hand. Artist, Hishigawa Moronobu. Kioto, N.D. 
 (about 1685). Lent by Mr. W. Anderson. 
 
 257 Alton ho-kan. 6 vols. ist edition. Collection of legends. Artist, 
 
 Has^gawa Toiin. Yedo, 1688. Lent by Mr. W. Anderson. 
 
 Subject of illustration : Kiyoyu washing his ear. 
 
 This work appears to have been the prototype of the illustrated collections of 
 legends published at a later date by Tachibana Morikuni, Nishikawa 
 Sukenobu, and many others, chiefly for the use of artisan designers. 
 
 Hii Yeo (Jap. Kiyoyu), the counsellor of the legendary Emperor Yao (2357 B.C.), 
 was a Chinese Diogenes, who carried to its highest pitch the philosophy of 
 contempt for worldly ambition and sensual gratifications. Like the Grecian 
 cynic, he endeavoured to rid himself of all superfluities ; and it is related 
 that when a gourd, which he was accustomed to use as a drinking vessel, 
 chanced one day, while hanging from the branch of a tree, to make sweet 
 music with the breeze, its owner resented its appeal to his aesthetic instincts, 
 and casting it away, would henceforth avail himself of no other cup than 
 the hollow of his palm. Ch'ao Fu, the " Nest Father," his chosen associate, 
 was a hermit of congenial views and practices. 
 
 The Emperor having heard of the profound wisdom of Hii Yeo, sent to 
 beg his aid in the direction of the government of the Empire. The 
 sage, after listening to the invitation, bathed his ear at a little cascade to 
 wash away the taint it had contracted by the admission of sounds provocative 
 of worldly ambition ; and his friend Ch'ao Fu, who was at the moment 
 bringing his ox to drink below the spot, led the animal away on hearing the 
 cause of the ablution, and would not permit its thirst to be quenched at the 
 morally-infected stream. 
 
28 
 
 258 Riosen hiisu mon-ji gwa-kon. (MS. title.) Figure characters, or 
 
 calligraphic figures made up by combinations of written characters. 
 Artist unknown. Kioto, N.D. (about 1690). 
 
 Lent by Mr. IV. Anderson. 
 
 259 Aki-no-hmi Itsiikushima shokei-dzu. Folded panoramic view of Itsu- 
 
 kushima and its neighbourhood. Coloured by hand. Artist 
 unknown. Kioto, 1689. Lent by Mr. W. Anderson. 
 
 Folded books, called Onhon or ' praying ' books, probably antedate the 
 ordinary sewn books {Shomotsu), and may have been a development of the 
 roll, the most ancient and inconvenient vehicle for manuscript and print. 
 This volume is probably one of the earliest of the printed and illustrated 
 topographical records. 
 
 260 Okumura ko-gwa. (MS. title.) Illustrations of fairy tales. Artist 
 
 Okumura Masanobu. Kioto, N.D. (about 1700). 
 
 Lent by Mr. W. Anderson. 
 
 Most of the pictures in this volume will be recognized as illustrations of stories 
 that are yet the favourites of the little ones in Japan, and are now being 
 made known to English readers by Mitford, Grififis, Chamberlain, and 
 Juncker. 
 
 261 Yukun Sennin. Sketches in burlesque of famous pictures. Artist, 
 
 Okumura Masanobu. Kioto, N.D. (about 1700). 
 
 Lent by Mr. W. Anderson. 
 
 262 Yamato ko-saku giva-sho. 4 vols. Annual of Japanese customs. Artist, 
 
 Ishikawa Riusen. Kioto, N.D. (about 1690). 
 
 Lent by Mr. W. A?iderson. 
 
 263 Lliaku-nin joro shina sadame. 3, vols. Sketches of women of all classes. 
 
 Artist, Nishigawa Sukenobu. Yedo, 1723. 
 
 Lent by Mr. W. Anderson. 
 
 264 E-Jion cJiiyo-vii-gnsa. Occupations of women. Artist, Nishigawa 
 
 Sukenobu. Engravers, Fujimura Zenyemon and Murakami 
 G^nyemon. Osaka, 1 741. Lent by Mr. W.Anderson. 
 
 265 ^-hon iama kadziira. 2 vols. Occupations of women. Artist, Nishikawa 
 
 Sukenobu. Osaka, 1736. Lent by Mr. W.Anderson. 
 
 266 — 7 Wakan inei-hitsii giva-yei. 6 vols. Copies of noted Chinese and 
 Japanese paintings. Edited by Sakurai Shiuzan. Yedo and Osaka, 
 1750. Lent by Mr. W. Anderson. 
 
 Subjects of illustrations: Arhat, after Cho Densu; Pheasant, after Kano Tsunenobu. 
 
?9 
 
 CASE B. EARLY ILLUSTRATED BOOKS. 
 
 I 8 th Century, 
 
 268 Giva-shi kwai-yo. 6 vols. Copies of noted pictures collected by Ooka 
 
 Shunboku. Engraver, Murakami Genyemon. Osaka, 1707. 
 
 Lent by Mr. IV. Anderson. 
 
 Subject of illustration : Crows, after Korin. 
 
 269 Umpitsii so-gwa. 3 vols. Miscellaneous rough sketches, skilfully engraved 
 
 to imitate the strokes of the brush. Artist, Tachibana Morikuni. 
 Engraver, Fujimura Zenyemon of Osaka. Yedo, 1749. 
 
 Lent by Mr. W. Anderson. 
 
 270 Gwa-shi kwai-yo (see No. 268). Lent by Mr. E. Dillon. 
 
 Subject of illustration : Frogs wrestling, from an old picture of the Tosa School. 
 
 271 Hon-cho gwa-yen. 6 vols. Illustrations to poetry. Artist, Tachibana 
 
 Morikuni. Kioto, 1782. Le?it by Mr. JV. Anderson. 
 
 272 t.-hon sha-Jw bitkuro. 9 vols. Motives for artists, drawn from folklore, 
 
 natural history, etc. Artist, Tachibana Morikuni. Kioto, 1780. 
 
 Lent by Mr. W. Anderson. 
 
 273 Um-pitsu so-gwa (see No. 269). Le7it by Mr. E. Dillon. 
 
 274 Hanabusa Itcho gwa-fu. Miscellaneous sketches. Artist, Hanabusa 
 
 Itcho. Yedo, 1770. Lent by Mr. W. Anderson. 
 
 Subject of illustration : The itinerant priest praying the wild geese to sacrifice 
 themselves as material for his soup, the other ingredients of which are all 
 prepared. The birds decline to emulate the pious hare of Buddhistic legend. 
 
 275 Hissei mtiska suziiri. 3 vols. Illustrations of history and legend. 
 
 Artist, Tsukioka Tange. Yedo, 1759. Lent by Mr. W. Afiderson. 
 
 Subject of illustration : Shoki and Demons. 
 
 Shoki (Chinese Chung Kwei), the demon-queller, is a m3'thical being, the 
 spirit of an unfortunate scholar of the T'ang Dynasty, who in gratitude for 
 posthumous honours conferred upon him by the Chinese Emperor Ming 
 
30 
 
 Hwang (a.d. 717-762), appeared as a kind of avenging power to guard the 
 monarch and his household from the demons of disease and other evils. 
 He is usually drawn as a burly truculent giant clad in Chinese official garb, 
 and armed with a two-edged sword, and is engaged in punishing or 
 compelling menial service from a band of pigmy devils, who adopt the 
 most comical subterfuges to escape the keen eyes of the ghostly detective. 
 
 276 E-hon shiu-yo. 3 vols. Miscellaneous sketches. Artist, Sesshosai. 
 
 Engraver, Fujiye Shirobiyoye. Yedo and Osaka, 1784. 
 
 Lent by Mr. W. Anderson. 
 
 277 HiakiL Fuji. 4 vols. Views of Mount Fuji. Artist, Kawamura. Yedo 
 
 and Osaka, 1764. Lent by Mr. W. Anderson. 
 
 278 Kio-gwa yen. 3 vols. Comic drawings by Kano Tanyu and others. 
 
 Kioto and Yedo, 1770. Lent by Mr. W. Anderson. 
 
 Subject of illustration : Bird-catcher trying to bring down an Angel with a 
 limed twig. 
 
 279 Gwa-ko sen-ran. 6 vols. Copies of famous pictures. Edited by Kano 
 
 Yeihaku. Engraver, Murakami Genyemon. Osaka, 1740. 
 
 Lent by Mr. W. Anderson. 
 
 Subject : View of Mount Fuji, illustrating the ancient romance called Ise 
 Monogatari. Printed in two tones from a single block. 
 
 280 Wa-Ka7i mei-hitsu kin-gioku gwa-fu. 6 vols. Copies of famous Japanese 
 
 and Chinese pictures. Edited by Sakurai Shiuzan. Yedo and 
 Osaka, 1771. Lent by Mr. W. Anderson. 
 
 281 Shin-ki ichi-fuisu. 3 vols. Rough Sketches. Artist, Kitawo Keisai 
 
 Masayoshi. Osaka, 1789. Lent by Mr. W. Anderson, 
 
 282 Soshiseki gwa-fu. 7 vols. Drawing examples from various Chinese 
 
 sources, some printed in colours from 2 or 3 blocks ; others in two 
 or three tints from a single block. Another series appeared in 
 3 volumes. Yedo, 1 769-1 771. Lent by Mr. W. Anderson. 
 
 283 Nishiki Hiakimin issliiu adzuma Ori. Portraits of the Hundred Famous 
 
 Poets, printed in colours. Artist, Katsugawa Shunsho. Engraver, 
 Inoiiye Shinichiro. Yedo, 1775. Lent by Mr. W. Anderson. 
 
31 
 
 284 Ko-hi no tsiibo. 3 vols. Portraits of Actors, printed in colours. Artist, 
 
 Katsugawa Shunsho. Yedo, 1770. Le7it by Mr. W. Anderson. 
 
 285 Sei-ro bi-jin awasd kagami. 3 vols. Portraits of fair women, printed in 
 
 colours. Artists, Kitawo Shigemasa and Katsugawa Shunsho. 
 Engraver, Inoiiye Shinhichiro. Yedo, 1776. 
 
 Lent by Mr. W. Anderson. 
 A perfect specimen of chromo-xylographic printing. 
 
 286 ]^-hon waka murasaki. Scenes in Yedo, printed in colours. Artist, 
 
 Utagawa Toyokuni. Engraver, And5 Yenki. Yedo, N.D. (about 
 1798). Lent by Mr, W. Anderson. 
 
 287 Onna San-jiii-rok 'Kasen. The Thirty-six Famous Poetesses, printed in 
 
 colours. Artists, HosoY Chobunsai and Katsushika Hokusai. En- 
 gravers, Yamaguchi Matsugoro and Yamaguchi Seizo. Yedo, 1798. 
 
 Le7it by Mr. W. Anderson. 
 
 288 ^-hon Ham 710 nishiki. Illustrations of Spring scenery, printed in colours. 
 
 Artist, Suzuki Harunobu. Engraver, Endo Matsugoro. Yedo, 177 1. 
 
 Lent by Mr. W. Anderson. 
 
 289 J^-hon Ama-no-kaiva. The Story of the Milky Way, with Comic Poems. 
 
 Artist, Kitawo Kosuisai Shigemasa. Kioto, 1790. 
 
 Le7it by Mr. W. A7tderson. 
 
 290 Shiu-ko jisshi. Description of Miscellaneous Antiquities. Yedo. 
 
 Le7it by Mr. IV. A7iderson. 
 
 Subject of illustration: Pictures by Godoshi (Wu Tao-tsz'), a Chinese artist of 
 the eighth century. 
 
 291 Basho-y^ kotoba den. 3 vols. Landscapes. Printed in two tints from 
 
 a single block. Artist, Basho. Yedo (.''), 1793. 
 
 Le7it by Mr. W. Anderson* 
 
32 
 
 CASE C. BOOKS WITH ILLUSTRATIONS IN 
 BLACK AND WHITE AND IN COLOURS. 
 
 Early 19x11 Century. 
 
 292 Bai-kwa Clio. Drawings of Plum-Blossoms. Printed from two blocks. 
 
 Artist, Chdko. Yedo (?), 1808. Lent by Mj\ W.Anderson. 
 
 293 Mei-ka gwa-fu. Pictures by Noted Artists. Printed in colours. 
 
 Nagoya, 1814. Lent by Mr. W. Anderson. 
 
 Subject of illustrations : Birds after Bokutei, pine after Keibun. 
 
 « 
 
 294 Ransai gzva-fu. 3 vols. Designs for Instruction in Drawing. Printed 
 
 in two tints. Artists, Nanpin and Shiuko. Ki5to (?), 1802. 
 
 Lent by Mr. W. Anderson. 
 
 Chin Nanpin was a Chinese artist who settled in Nagasaki in the last century. 
 Shiuko, a Japanese, was his favourite pupil. 
 
 295 Shin I'Cosha bun-ko. 2 vols. Copies of Pictures by various Artists. 
 
 Yedo, 1804. Lent by Mr. W. Anderson. 
 
 Subject of illustration : Peacock after Sozan. (The tail of the bird is continued 
 upon the next four pages.) 
 
 296 So-kwa Riaku-gwa shiki. Drawings of Flowers. Printed in colours. 
 
 Artist, Kitawo Keisai Masayoshi. Yedo, 181 3. 
 
 Lent by Mr. W. Anderson. 
 
 297 Momo-chidori kioka aivase. Drawings of Birds and Flowers, with Comic 
 
 Verselets, printed in colours. Artist, Kitagawa Utamaro. Yedo, 
 N.D. (about 1800). Lent by Mr. W. Anderson. 
 
 298 CJiikudo gwa-fu. 2 vols. Miscellaneous Sketches, printed from two 
 
 blocks (black and grey). Artist, Chikudo. Kioto, 181 5. 
 
 Lent by Mr. W. Anderson. 
 
 299 K^iojo giva-yen. Miscellaneous Sketches by various artists, printed in 
 
 colours. Kioto, 18 12. Lent by Mr. W. Anderson. 
 
 300 Ban-so Sohi-go-shi. Miscellaneous Sketches, printed in two tints, after 
 
 style of Korin. Artist, Hoitsu. Yedo, 18 17. 
 
 Lent by Mr. W. Anderson^ 
 
33 
 
 301 Biunpo gwa-fu. 2 vols. Miscellaneous Sketches, printed in colours. 
 
 Artist, Kawamura Bumpo. Engraver, Inoliye Jihei. Osaka, 1804. 
 
 Lent by Mr. W. Anderson. 
 
 302 SJihi-cJiin gwa-cho. 3 vols. Collection of Pictures, printed in colours. 
 
 Afterwards republished under the title of Tanyu Rin-gwa. Kioto, 
 1803. Lent by Mr. W. Anderson. 
 
 303 Fu-kei giva-so. Miscellaneous Sketches, printed in colours. Artist, 
 
 Cho Gessho. Nagoya, 1817. Lent by Mr. IV. Anderson. 
 
 CASE D. ILLUSTRATED BOOKS. 
 Early 19TH Century. 
 
 304 Jimbuisu gwa-fu. Miscellaneous Sketches, printed in Colours. Artist, 
 
 Nishimura Nantei. Engraver, Inoiiy^ Jihei. Kioto, 1823. 
 
 Lent by Mr. W. Andersofi. 
 
 305 En-0 gwa-fu. 2 vols. Miscellaneous Sketches, printed in Colours. 
 
 Artist, Maruyama Okio (the founder of the Naturalistic School 
 of Japanese painting, 1733- 1795)- Kioto, 1837. 
 
 Lent by Mr. W. Anderson. 
 
 306 Ko'shiu gwa-fu. Miscellaneous Sketches by various artists, printed in 
 
 Colours. Kioto, 18 1 2. Lent by Mr. W. Anderson. 
 
 307 Shdzan Ro gwa-hon. Miscellaneous Sketches, printed in Colours. 
 
 Artists, Tani Buncho (" Sha-zan Rojin," the old man who draws 
 mountains — 1763-1840) and Hoitsu (1761-1828). Kioto, 1816. 
 
 Lent by Mr. W. Anderson. 
 
 308 Korin Shin-sen hiaku dzu. 2nd Series. 2 vols. Miscellaneous designs, 
 
 collected by Hoftsu. Artist, Korin (i 660-1716). Engraver, Shimidzu 
 Riujo. Yedo, 1826. Lent by Mr. W. Anderson. 
 
 309 Hoiisu Sho-nin shin-sei kagami. 2 vols. Miscellaneous Sketches, printed 
 
 in two tints. Artist, Hoitsu. Yedo, N.D. (about 1830). 
 
 Lent by Mr. IV. Anderson. 
 
 5 
 
34 
 
 310 Sho-gwa Chd. Miscellaneous Sketches by various artists. Printed in 
 
 colours. Kioto, 1830. Lent by Mr. W. Ajiderson. 
 
 Subject of illustration : Chinese children, after Suikei. 
 
 311 Genkosai inro-fii. 2 vols. Specimen engravings, some printed in colours, 
 
 of remarkable delicacy of execution. Artist and engraver, Genkosai, 
 assisted by his pupils, Yamanaka Chikugwa, Takeguchi Teisai, 
 Sugita Yusai, and Matsushima Yeisai. Yedo, 1840. 
 
 Lent by Mr. IV. Anderson. 
 
 312 Sonan giva-fu. Miscellaneous Sketches, by various artists, printed in 
 
 colours. Artist, Sonan. Yedo, 1834. Lent by Mr. W.Anderson. 
 
 313 Yu-sai gzva-fu. Miscellaneous Drawings by Chinese artists, printed in 
 
 colours. Collected by Chikudo. Engraver, Inotiye Jihei. Yedo, 
 1 84 1 and 1846. Lent by Mr. W. Anderson. 
 
 314 Yn-sai gzva-fu. Pictorial Album. Orihon. Miscellaneous Sketches by 
 
 Chinese artists, printed in colours. Kioto, 1846. 
 
 Lent by Mr. W. Anderson. 
 
 315 Cliinnen gzva-fu. Miscellaneous Sketches, printed in colours. Artist, 
 
 Chinnen. Yedo, 1839. Lent by Mr. W. Anderson. 
 
 Subject of illustration : The family visit to the Temple on New Year's Day. 
 
 CASE E. ILLUSTRATED BOOKS. 
 
 HOKUSAI AND HIS SCHOOL. 
 
 316 (No title.) Scenes in and near Yedo. Artist, Hokusai. Yedo, 1804. 
 
 Lent by Mr. W. C. Alexander. 
 Subject of illustration : Priest taking a rubbing of an inscription upon a stone. 
 
 317 E-Jion Sumida-gawa riogan icld-ran. 3 vols. Scenes on the banks of 
 
 the Sumida. Printed in colours. Artist, Hokusai. Yedo, N.D. 
 (about 1803). Lent by Mr. W. Anderson. 
 
35 
 
 318 Toto meisho ichiran. 3 vols. Views in and near Yedo. Printed in 
 
 colours. Artist, Hokusai. Yedo, 1800. 
 
 Lent by Mr. W. C. Alexander. 
 
 319 Hokusai Shiugwa ichiran. Miscellaneous Sketches, printed in colours. 
 
 Many of these cuts were afterwards reproduced in vol. 15 of the 
 "Mangwa." Artist, Hokusai. Yedo, N.D. (about 18 10). 
 
 Lent by Mr. W. Anderson. 
 
 320 E-hon Adzuma asobi. 3 vols. Views in and near Yedo, printed in 
 
 black. Copies printed in colours were also published. Artist, 
 
 Hokusai. Yedo, 1802. 
 
 Lent by Mr. W. C. Alexander. 
 
 321 Man-wo sohiisu giua-fu. i vol. Afterwards republished in colours 
 
 under the title of Hokusai gwa-yen. Miscellaneous sketches, 
 printed in black and grey. Artist, Hokusai. Signed, Manwo, 
 late Hokusai. Yedo, 1843. 
 
 Lent by Mr. W. Anderson. 
 
 322 E-hon Adzuma Asobi. See No. 320. 
 
 Lent by Mr. E. Dillon. 
 
 Subject of illustration: The Dutch Envoys. 
 
 323 E-hon riyo-hitsu. (MS. title.) Subsequently reprinted under title of 
 
 Hokusai gwa-fu. Miscellaneous Sketches, printed in two tints. 
 
 Yedo, 1820. 
 
 Lent by Mr. W. Anderson. 
 
 Subject of illustration : A mad woman chasing butterflies. 
 
 324 Riyo-hitsu gwa-fu. (MS. title.) Sketches of landscapes and figures. 
 
 Artists, Hokusai and Rinkosai. Nagoya, N.D. (about 1820). 
 
 Lent by Mr. W. Anderson. 
 
 325 Hokusai Mangwa. 15 vols. Miscellaneous Sketches, printed in 3 
 
 tints. Artist, Hokusai. Osaka, Nagoya and Yedo, 1812-1879. 
 
 Lent by Mr. W. Anderson. 
 
 Subject of illustration : The strong Avoman and the wrestler. 
 
 326 ^-hon Chill-kid. i vol. Stories of loyal retainers. Artist, Hokusai. 
 
 Signed, Tamekadzu Rojin, late Hokusai. Yedo, 1834. 
 
 Lent by Mr. W. Anderson. 
 
 Subject of illustration : Wada Heida committing suicide by cutting off his own 
 head. 
 
36 
 327 Hokusai Mangwa. See No. 325. 
 
 Lent by Mr. W. Anderson. 
 
 328 Wa-kan e-hon Saki-gake. Pictures of Japanese and Chinese heroes. 
 
 Artist, Hokusai. Yedo, 1836. 
 
 Lent by Mr. W. Anderson. 
 
 Subject of illustration : Toyotama Hime, the Dragon Ancestress of the Mikados 
 of Japan. 
 
 329 Shoshoku e-hon Katsiishika shin-hinagaia. Designs for Artisans. 
 
 Artist, Hokusai. Signed, Gwa-kio Ro-jin, late Hokusai (The 
 picture infatuated old man). Engraver, Egawa Tomikichi. Kioto, 
 
 1836. 
 
 Lent by Mr. W. Anderson. 
 
 330 Hokusai Man-gwa hayaji nan. 2 vols. Examples for instruction in 
 
 sketching. Artist, Hokusai. Yedo, N.D. (about 1835). 
 
 Lent by Mr. W. C. Alexander. 
 
 331 Album of Colour Prints. Hokusai School. N.D. (about 1820). 
 
 Lent by Mr. W. C. Alexander. 
 
 332 Jido monjii Osanago kiokun. 3 vols. Novelette written and illustrated 
 
 by Hokusai. Signed, Tokutaro Kako. Yedo, 1801. 
 
 Lent by Mr. W. Anderson. 
 
 333 A-hon Suiko den. Portraits of Chinese heroes of fiction. Artist, Hokusai. 
 
 Yedo, 1829. 
 
 Lent by Mr. W. Anderson. 
 
 334 Hokusai gwa-shiki. Miscellaneous sketches. Afterwards republished 
 
 with others under the title of Hokusai gwa-fu. Artist, Hokusai. 
 
 Yedo, 1 8 19. 
 
 Lent by Mr. F. Dillon. 
 
 335 Hokusai gwa-fu. 3 vols. Miscellaneous sketches. Artist, Hokusai. 
 
 Yedo, original date 1820 ; reprinted about 1840. 
 
 Lent by Mr. W. Anderson. 
 
 336 — 7 Fugaku hiak'kei. 3 vols. Views of the Peerless Mountain. Printed 
 
 from 2 blocks. Artist, Hokusai. Engraver, Egawa Tomikichi 
 
 or Gojotei. Yedo, 1834-6. 
 
 Lent by Mr. W. Anderson. 
 
 An edition of this work with a translation of the text has been published by- 
 Mr. F. V. Dickins. 
 
37 
 
 338 Dochiu gwa-fu. 2 vols. Scenes on the T5kaid5 (the high road between 
 
 Tokio and Kioto). Printed from 3 blocks. Artist, Hokusai. 
 
 Yedo, 1836. 
 
 Lent hy Mr. E. Dillon. 
 
 339 Hokusai Man-gwa. See No. 325, 
 
 340 Kwa-cho gwa-den. 2 vols. Drawings of Birds, printed from 3 blocks. 
 
 Artist, Hokusai. Yedo and Osaka, 1839 and 1849. 
 
 Lent by Mr. W. Anderson. 
 
 341 Musashi Abunii. (Sequel to A-hon Saki-gake.) Pictures of Japanese 
 
 Heroes. Artist, Hokusai. Engraver, Egawa Tomikichi. Yedo, 1836. 
 
 Lent by Mr. W. Anderson. 
 
 342 Hokusai Onna-Imagaiva. Famous Exemplars for Women. Artist, 
 
 Hokusai. Yedo, N.D. (about 1830). 
 
 Lent hy Mr. W. Anderson, 
 
 343 Tsushin gwa-fu. Miscellaneous Sketches. Artist, Aikawatei Minwa. 
 
 Osaka, 18 19. 
 
 Lent hy Mr. W. Anderson. 
 
 344 J^-hou Imagawa Jo. 2 vols. Historical and Legendary Anecdotes. 
 
 Artist, Numata Gessai. Nagoya, 1825. 
 
 Lent by Mr. W. Anderson. 
 
 345 Toyokuni tosJiidaina fudtf. i vol. Miscellaneous Sketches, printed from 
 
 3 blocks. Artist, Utagawa Toyokuni. Nagoya, 1830 (5 years 
 after death of artist). 
 
 Lent by Mr. W. Anderson. 
 
 346 Ukiyo gwa-fu. 3 vols. Miscellaneous Sketches, printed from 3 blocks. 
 
 Artist, Keisai Yeisen. Yedo, N.D. (about 1836). 
 
 Lent by Mr. W. Anderson. 
 
 347 &-hon Fuji bakama. 3 vols. Printed in Colours. Artist, Yanagawa 
 
 Shig^yama. Yedo, about 1838. 
 
 Lent by Mr. W. C. Alexander. 
 
 348 Kwannon-Kio riaku dzu kai. Illustrations of Buddhist Texts. Artist, 
 
 Katsushika Isai. Engraver, Miyata Rokuzayemon. Yedo, 1862. 
 
 Lent by Mr. W. Anderson. 
 
38 
 
 CASE F. ILLUSTRATED BOOKS. Miscellaneous. 
 
 Late i8th and Early iqth Centuries. 
 
 349 Bii/oiin chiku-fu. Drawings of bamboos. Artist, Riyoiin (a Chinese 
 
 resident of Nagasaki). Yedo, 1771. 
 
 Lent by Mr. W. Anderson. 
 
 350 Chiku-fu sJio-rolm kivan. 3 vols. Sketches of bamboos. Yedo, about 
 
 1795- 
 
 Lent by Mr. F. Dillon. 
 
 351 Bolai-chiku hatsumo. 4 vols. Instruction in drawing bamboos. Printed 
 
 from I or 2 blocks. Artist, Kenkensai Ump5. Yedo, Kioto, 
 Osaka, and other cities, 1857. Recently reprinted. 
 
 Lent by Mr. W. Anderson. 
 
 352 Ike Taiga giva-fu. 2 vols. Landscape sketches in the style of the 
 
 Southern Chinese School. Artist, Ike no TaigadS. Kioto, 1803. 
 
 Lent by Mr. W. Atiderson. 
 
 The style of the Southern Chinese School was greatly in favour amongst scholars 
 in Japan from the middle of the last to the early part of the present century. 
 The pictures were for the most part extremely rough sketches, with little 
 claim to artistic beauty, but possessing a mysterious charm for literary men 
 and calligraphists. Ifukiu, a Chinese immigrant and his pupil Taigado, 
 were regarded as the great masters of this school in the 1 8th century. 
 
 353 Kanrin gica-fu. 3 vols. Sketches of birds and flowers, printed in 
 
 colours. Artist, Kanrin. Yedo, 1844. 
 
 Lent by Mr. W. C. Alexander. 
 
 354 Gentai Sensei gwa-fu. 3 vols. Examples for students of drawing, printed 
 
 from two blocks. Artist, Uchida Gentai. Yedo, 1804. 
 
 Lent by Mr. W. A?iderson. 
 
 355 Seki Bumen gwa-fa. Miscellaneous sketches. Printed from two blocks. 
 
 Artist, Bunsen. Osaka, 1848. 
 
 Lent by Mr. W. Anderson. 
 
39 
 
 356 Balm gioliu kan yu. Drawings of Birds. Printed in colours. Artist, 
 
 Kiokuk5. Yedo, 1837. 
 
 Lent by Mr. E. Dillon, 
 
 357 Kanrin gwa-fu. See No. 353. 
 
 Lent by Mr. W. C. Alexander. 
 
 358 Hengahu M-han. 5 vols. 2nd series. (Afterwards republished with No. 
 
 360 under the title of MiaJio no E-ma hagami and E-ma no te/ion.) 
 Copies of framed pictures preserved in the temples of Kioto. 
 Edited by Hayamidzu Shunki5sai. Artist, Kitagawa Shunsei. 
 Engraver, Kawabata Tozaburo. Kioto, 1821. 
 
 Lenl by Mr. W. Anderson. 
 
 Subject of illustration : The " Seven Gods of Good Fortune " — burlesque. 
 
 359 Shoahun hoseki satsu. Flowers, printed in white in relief upon a black 
 
 ground. Kioto, 1777. 
 
 Lent by Mr. E. Dillon. 
 
 360 Hcngakn ki-han. ist series. Copies of framed pictures in the temples 
 
 of Kioto. Drawn by Aikawa Minwa and Kitagawa Shunsei. 
 Engraver, Kawabata Tozaburo. Kioto, 18 19. 
 
 Lent by Mr. W. Anderson. 
 
 361 Zen-ken kojitau. 20 vols., with supplement of 3 vols. Drawings of 
 
 ancient worthies. Artist, Kikuchi Yosai (•fi878). Yedo, from 
 1836. 
 
 Lent hy Mr. W. Anderson. 
 
 Subject of illustration : Prince Yamato-dak6, a prehistoric hero of Japan, in 
 disguise as a girl, dancing before the robber-chief. See Translation of the 
 Kojiki, by Mr. B. H. Chamberlain, Trans. Asiatic Society of Japan, 1883. 
 
 362 Itsukushima ije-ma kagami. 5 vols. Copies of famous ex-voto pictures in 
 
 the Temple of Itsukushima. Some printed in colours. Drawn by 
 Watanab6 Taigaku. Engravers, Sakata Yasubioye and Sakata 
 Chiugoro. Kioto, 1833. 
 
 Lent by Mr. W. Anderson. 
 
 363 Gica-to sui fti-f/o. 3 vols. Miscellaneous Sketches ' drawn after drinking.' 
 
 Artist, Roren. Yedo, 1809. 
 
 Lent by Mr. W. Anderson. 
 
40 
 
 364 Tqfa zoJm kesho den. 3 vols. Book of Female Costume. Artist, 
 
 Hayamidzu Shunkiosai. Engraver. Sayama Hanichi. Yedo, 181 3. 
 
 Lent by Mr. F. Dillon. 
 
 365 Nippon Meizan dza-y4. Pictures of Famous Japanese Mountains. Artist, 
 
 Tani Buncho. Yedo, 1804. (See Fig. 12.) 
 
 Lenl by Mr. W. Anderson, 
 
 Fig. 12. Reduced facsimile of an engraving after Tani Buncho in the Nippon 
 Mei::an dzii-ye (about 1804). No. 365. 
 
 366 Tbfu zo7m Msho den. See No. 364. 
 
 Lenl by Mr. F. Dillon. 
 
 367-8 Kinha yen gira-fu. 3 vols. Drawings of Birds and Flowers, printed 
 in colours. 
 
 Lent by Mr. W. C. Alexander, 
 
41 
 
 369 Kica-cho dzii-ye. 3 vols. Drawings of Birds and Flowers, printed in 
 
 colours. 
 
 Lent by Mr. W. C. Alexander. 
 
 370 Drawings of Fishes (no title), printed in colours. Artist, Hiroshig^. 
 
 Yedo, about 1845. 
 
 Lent by Mr. W. C. Alexander. 
 
 371 Gess/io so-gica. Rough Sketches, printed in colours from a single block. 
 
 Artist, Ch5 Gesshd. Nagoya, 1858. 
 
 Lent by Mr. W. Anderson. 
 
 372 Shiinhei gica-fu. Drawings of Insects and Flowers from Chinese Pictures, 
 
 printed in colours. Artist, Mori Shunkei. Yedo, 1820. 
 
 Lent by Mr. W. C. Alexander. 
 
 CASE G. ILLUSTRATED BOOKS AND 
 PRINTS, Miscellaneous. 
 
 Late i8th and Early 19TH Century. 
 
 373 Jmbutsu riaku-gica shiki. Miscellaneous rough sketches. Printed in 
 
 colours. Artist, Kitawo Keisai Masayoshi. Engraver, Noshiro 
 Riuko. Osaka, 1804. 
 
 Lent by Mr. W. Anderson. 
 
 374 Keisai so-gwa. 5 vols. Rough sketches. Printed in colours from a 
 
 single block. Artist, Keisai Yeisen. Yedo, about 1830. 
 
 Lent by Mr. W. Anderson. 
 
 375 Collection of New Year's Cards. Printed in colours. Yedo, about 1 840. 
 
 Lent by Mr. F. Dillon. 
 
 376 Collection of Proof-Impressions of Rare Prints after Hokusai. 
 
 Lent by Mr. W. C. Alexander. 
 
 The cut exhibited shows the engraved comer-mark by which the chromo- 
 xylographic printer secured accuracy of register. 
 
 6 
 
42 
 
 377 Kio-gwa yen. Comic sketches. Printed in colours. Artist, Gekk5tei 
 
 Bokusen. Osaka (?), about 1830. 
 
 Lent by Mr. W. Anderson. 
 
 378 Korin gica-fu. Designs by Korin (1660-1716). Printed in colours. 
 
 Artist, Honnami Korin. Kioto, 1823. 
 
 Lent by Mr. W. Anderson. 
 
 379 Sei-ro nenjiu gioji. 2 vols. Annual of the Courtesan Quarter. Printed 
 
 in colours. Artist, Kitagawa Utamaro. Yedo, 1803. 
 
 Le?tt by Mr. W. Anderson. 
 
 380 Bakemono ye-hon. Pictures of Ghosts and Goblins. Printed in colours. 
 
 Artist, Rikan Koken. Yedo, 1801. 
 
 Lent by Mr. W. Anderson. 
 
 381 Collection of New Year's Cards, by Hokusai and others. Printed in 
 
 colours. Yedo, about 18 10. 
 
 Lent by Mr. W. C. Alexander. 
 
 382 Collection of Drawings of Flowers, etc. Printed in colours. Artist, 
 
 Utagawa Toyohiro. Yedo, about 18 10. 
 
 Lent by Mr. W. Anderson. 
 
 383 A-hon Iinayo Sugata. Scenes in Yedo. Printed in colours. Artist, 
 
 Utagawa Toyokuni. Engraver, Yamaguchi Seiz5. Yedo, 1802. 
 
 Lent by Mr. W. Anderson. 
 
 384 Yedo mekho. (MS. title.) 3 vols. Scenes in Yedo. Printed in colours. 
 
 Artist, Utagawa Toyokuni. Engraver, Ando Yenki. Yedo, about 
 1800. 
 
 Lent by Mr. W. Anderson. 
 
 385 So-gwa hiaku-hutsu. Miscellaneous rough sketches. Printed in colours. 
 
 Artist, Oi'shi Matora. Osaka, 1842. 
 
 Lent by Mr. W. Anderson. 
 
 386 Hai-kai Ki-jin den. 4 vols. Scenes of Theatre. Printed from two 
 
 blocks. Artist, Utagawa Kunisada. Yedo, 1833. 
 
 Lent by Mr. W. Anderson. 
 
43 
 
 387 Shogica jimmci shi. Illustrations to poetry. Printed in colours. Artists, 
 
 various. Engraver, Uyemura Yasugoro. Yedo, N.D. (about 1870). 
 
 Lent by Mr. W. Anderson. 
 
 388 Collection of New Year's Cards. Printed in colours. Yedo, about 1820. 
 
 Lent by Mr. W. C. Alexander. 
 
 389 Zoliku hiak'ki. 3 vols. Drawings of Ghosts and Goblins, printed in black 
 
 and grey. Artist, Toriyama Sekiyen Toyofusa. Engraver, Machida 
 Sukezaydmon. Yedo, 1779. 
 
 Lent by Mr. W. A nderson. 
 
 390 E-hon hiaku monogatari. 5 vols. Weird stories. Artist, Takehara 
 
 Shunsen. Engraver, Tan Iwaji. Kioto, 1841. 
 
 Lent by Mr. W. Anderson. 
 
 CASE H. ILLUSTRATED BOOKS AND 
 PRINTS. Miscellaneous. 
 
 Late iSth and Early 19TH centuries. 
 
 391-2 Torii/ama Sekiyen g\ca-fu. 2 vols. Miscellaneous sketches, printed in 
 colours. Artist, Toriyama Sekiyen Toyofusa. Engraver, Rioko 
 Toyei. Yedo, 1774. 
 
 Lent by Mr. W. Anderson. 
 
 393-4 Collection of New Years' Cards by Gakutei Kisai and others. Yedo, 
 
 about 1820. 
 
 Lent by Mr. E. Dillon. 
 
 395-6 Collection of Chromo-xylographs by Toyokuni. Yedo, about 1820. 
 
 Lent by Mr. R. Phene Spiers. 
 
 397 Kocho gica-fu. Miscellaneous sketches, printed in colours. Artist, Kocho. 
 
 Engraver, Gohashi Tokuy^mon. Osaka, 1839. 
 
 Lent by Mr. W. Anderson. 
 
 398 Kumanaki KagL Silhouette Portraits of the Members of a Club of 
 
 Artisans and Tradesmen. Yedo, 1833. 
 
 A book of some Ethnological value. The silhouettes are remarkably accurate 
 
 and characteristic. 
 
 Lent by Mr. W. Anderson. 
 
44 
 
 399 Itcho gica-fii. Sketches by Itch5, printed in colours. Yedo, about 1845. 
 
 Lent by Mr. G. P. Boyce. 
 Subject of illustration : Watanabd and his comrades slaying the Demon-spider. 
 A legend of the loth century. See Catalogue of Japanese and Chinese 
 Pictures in the British Museum. 
 
 400 Collection of Chromo-xylographs, by Kunisada and others. Yedo, 1800 
 
 to 1830. 
 
 Lent by Mr. C. Holme. 
 
 400a Shohcado gica cJio. Miscellaneous Sketches, printed in colours. Artist, 
 
 Shokwado (i 582-1637). Kioto, 1804. 
 
 Lent by Mr. W. Anderson. 
 Subject of illustration: Hotel (one of the 'Seven Gods of Prosperity') riding 
 upon an ox. 
 
 400b Drawings for Colour Prints. These were probably made to guide the 
 Engraver in printing from the blocks for the volume entitled Shiki 
 no Kwacho (1861). Artist, S5gaku. Yedo, 1861. 
 
 Lent hy Mr. W. Anderson. 
 
 400c Collection of Chromo-xylographs, by Shunsen and others. Yedo, 1800- 
 1820. 
 
 Lent hy Mr. C. JEolme. 
 
 CASE I. ILLUSTRATED BOOKS. 
 
 Modern. 
 
 401-2 Aino Stories. Told by B. H. Chamberlain. With illustrations printed 
 in colours. Artist, Sensai Yeitaku. Tokyo (Yedo), 1887. 
 
 Lent by Mr. E. Dillon. 
 
 403 Comic sketches. Printed in colours. Artist, Kiosai (?). No title. Tokyo, 
 
 N.D. (about 1880). 
 
 Lent by Mr. R. Phene Spiers. 
 
 404 Matsuyama kagami. The story of the Mirror of Matsuyama told in 
 
 English by B. H. Chamberlain. Artist, Sensai Yeitaku. Tokyo, 
 1886. 
 
 Lent by Mr. W. Anderson, 
 
45 
 
 405 Urashima. Japanese Story told in English by B. H, Chamberlain. 
 
 Artist, Sensai Yeitaku. Tokyo, 1886. 
 
 Lent by Mr. W. Anderson. 
 
 Subject of illustration : The voyage of Urashima with the Sea-maiden. 
 
 406 Kwanyei gwa-fu. Miscellaneous sketches, printed in colours. Artist, 
 
 Nishiyama Kenichiro. Engraver, Maigawa Zenbei. Tokyo, 1887. 
 
 Lent by Mr. W. C. Alexander. 
 
 407 Bambutsu hinagata gwa-fu. 6 vols. Designs for Artisans. Artist, Sensai 
 
 Yeitaku. Engraver, Otsuka Tetsugoro. Tokyo, 1881. 
 
 Lent by Mr. H. Virtue Tebbs. 
 
 408 Sensai Yeitaku gwa-fu. Miscellaneous Sketches. Printed from 3 blocks. 
 
 Artist, Sensai Yeitaku. Yedo, 1884. 
 
 Lent by Mr. W. Anderson. 
 
 409 Kica-cho gica-fu. i vol. Sketches of birds and flowers. Printed from 
 
 3 blocks. Artist, Tachibana Ungwa. Engraver, Hanposhi. 
 
 Tokyo, 1880. 
 
 Lent by Mr. W. Anderson. 
 
 410 Kibsai rakii-gwa. 2 vols. Miscellaneous Sketches, printed in colours. 
 
 Artist, Kavvanabe Kiosai. Tokyo, 1881. 
 
 Lent by Mr. W. Anderson. 
 
 411 Kiosai gica-den. 4 vols. Miscellaneous Sketches, including some Foreign 
 
 anatomical drawings. Artist, Kawanab6 Kiosai. Tokyo, 1887. 
 
 Lent by Mr. W. Anderson, 
 Subject of illustration : Kiosai's life school. 
 
 412-3 Bairei hiahu chb gwa-fu. 5 vols. Sketches of birds and flowers, 
 printed in colours. Artist, Bairei. Tokyo, 1881. 
 
 Lent by Mr. H. Virtue Tebbs. 
 
 The original drawings for 3 of these volumes may be seen in the South 
 Kensington Museum. 
 
 414 Kiosai man-gica. 1st series. Rough Sketches, printed from 3 blocks. 
 
 Artist, Kawanabe Kiosai. Engraver, Kawanabe Toyu. Tokyo, 
 
 1881. 
 
 Lent by Mr. W. Anderson. 
 
 415 ^-hon taka kagami. 5 vols. Hawks and hawking. Artist, Kawanabe 
 
 Ki5sai. Tokyo, 1879. 
 
 Lent by Mr. W. Anderson. 
 
4^ 
 
 416 Kimai gioa-fu. Comic Sketches, printed in colours. Artist, Kawanab^ 
 Ki5sai. Osaka, i860. 
 
 Lent by Mr. W. Anderson. 
 
 Subject of illustration : Scene in a boys' school. 
 
 CASE J. CHINESE BOOKS AND JAPANESE 
 FACSIMILE REPRINTS OF CHINESE BOOKS. 
 
 417 Dzu-ye so-i (Japanese title). 5 vols. Examples of Artists, reprinted 
 
 from Chinese. Original date, about 1590. 
 
 Lent by Mr. W. Anderson. 
 
 418 Jiu-chikn-sai gim-fa (Jap. title). 10 vols. Drawings of Bamboos 
 
 Orchids etc. Printed in colours. Republished in Japan about 1875. 
 Original date, 18 17. 
 
 Lent by Mr. W. Anderson. 
 
 419 Seiken so san (Jap. title). 4 vols. Portraits of Chinese Worthies. Re- 
 
 printed from the Chinese in 17 16. Original date, 1593. 
 
 Lent by Mr. W. Anderson. 
 
 420 Meij'm baikiku-fii (Jap. title). Drawings of Plum-Blossoms. Printed 
 
 in colours. • Original date, . Reprinted in Japan, 1881. 
 
 Lent by Mr. W. Anderson. 
 
 421 Niu-sai gwa (Jap. title). Landscapes. China, 1823 or 1866. 
 
 Lent by Mr. W. Anderson. 
 
 422 The Fabrication of Silk. Photo-zincographic Reproduction of a Chinese 
 
 book published in 1796. Shanghai, about i860. 
 
 Leiit by Mr. W. Anderson. 
 
 423 To8hi sMchigen (Jap. title). 6 vols. Drawing Examples, Reprinted 
 
 from the Chinese. Original date, 171 1. 
 
 Lent by Mr. W. Anderson. 
 
 424 SosMyen gica den (Jap. title). 6 vols. Outlines of Flowers, etc. Re- 
 
 printed from the following. Artist, Kananshi. Engraver, Yama- 
 moto Kihei. Osaka, 1748. 
 
 Lent by Mr. IV. Anderson. 
 
47 
 
 425-6 Ling mao-hwa-hicui. 6 vols. Outlines of Birds, Flowers, etc. Printed 
 in colours. See Japanese reprint. No. 424. China, 1701. 
 
 Lent by Mr. W. C. Alexander. 
 
 427 Fumon hon (Jap. title). Illustrations of the Saving Grace of Kwanyin. 
 
 Orihon. Date, 1331. 
 
 Original impressions printed in China. See Introduction, pages vi and vii. 
 This is probably the earliest specimen of Chinese pictorial engraving 
 extant, and the oldest known printed book with illustrations. 
 
 The original date of the St. Christopher block is 1423, and there is now in 
 Paris a wood-block of the Virgin and Child which bears the date of 
 1406. These are the earliest European engravings known to exist. 
 
 Lent hy Mr. W. Anderson. 
 
 428 History of the invasion of Taiko, with rough woodcut illustrations. 
 
 Double text, printed in Chinese characters and Korean alphabet. 
 Korea, about 1650. 
 
 Lent hy Mr. W. Anderson. 
 
 429 Tusho Ressen zen den (Jap. title). 10 vols. Original date, 165 1. 
 
 Reprinted in Japan. 
 
 Lent by Mr. W. Anderson. 
 
 430 Kakhvjen gica den (Jap. title). 20 vols. Book of instruction for artists, 
 
 some of the illustrations printed in colours. Original date, 1679. 
 Reprinted in Japan. 
 
 Lent by Mr. W. Anderson. 
 
 A work held in great esteem both in China and Japan, but compares unfavour- 
 ably with the publications of Tachibana Morikuni. 
 
 431 Fan iclia thou. 6 vols. Illustrated travels in the provinces of the Middle 
 
 Kingdom. China, 1839. 
 
 Lent by Mr. IF. Anderson. 
 
 432 Haihiin koshoku dzu (Jap. title). Agriculture illustrated. Reprinted from 
 
 the Chinese. Original date, 1796. 
 
 Len( by Mr. W. Anderson. 
 
48 
 
 CASES K, L AND M. JAPANESE TOPOGRAPHICAL 
 
 HANDBOOKS. 
 
 The topographical handbook in its more complete form is the product of the 
 last hundred years, but pictorial representations of native scenery have been published 
 since about 1680, either in the form of "single sheets" (Jchirjiai-ye), sewn volumes 
 {shomotsu), or long panoramic pictures converted into folding books {prihon) or rolls 
 iniakimond). The typical Meisho dzu-ye or pictorial description of noted places is, 
 however, a work of ambitious scope and of wide utility. It indicates all the spots 
 famous for landscape beauties, collects learned records of the historical and legendary 
 
 Fig. 13. — Street Scene in Osaka. Reduced facsimile from ih(t Settsu meisho dzu-^^. No. 452. 
 
49 
 
 lore of the localities described, enumerates the various objects of curiosity or archaeo- 
 logical importance preserved in the neighbourhood, contributes scientific notes upon 
 the flora and fauna of the district, and opens a fund of practical information as to 
 industries, commerce, and a hundred other matters of interest both to resident and 
 visitor. Each of the great cities and of the chief provinces had its handbook carefully- 
 edited and illustrated by the leading popular artists of the day. To Yedo (now Tokyo) 
 and its environs were dedicated twenty substantial volumes ; Kioto had eleven volumes, 
 exclusive of a large work devoted to its gardens ; that of the Tokaido, the high road 
 between Yedo and Kioto, six volumes ; that of the temple of Itsukushima and its 
 vicinity filled ten volumes ; and the list might be extended up to two hundred volumes 
 or more. The first of the series was the Miako (Kioto) Meisho dzu-ye (1787), illustrated 
 by Takdhara Shunchosai, who also supplied drawings for the handbooks for Yamato 
 (1791), Idzumi (1793), and Settsu (1798). Niwa Tokei, Nishimura Chiuwa, Hokkio 
 Nishikuni, and some others contributed to the work in the first two decades of the 
 
 Fig. 14. — A cool retreat. Suburban tea house and garden. Reduced facsimile from the Itsukushima 
 
 meisho dzu-ye. 184.2. {Su No. 470.) 
 
 7 
 
50 
 
 present century, but the void left by the death of Shunchosai was not filled until 1837, 
 when the publication of the Yedo Meisho dzu-ye introduced striking representations of 
 the scenery of the capital of the Shogun, from the pencil of Hasegawa Settan. A 
 description of the holiday resorts of the city, forming suite with the last, was issued 
 in 1838, and a smaller book of a similar kind in 1839. Many other popular artists 
 soon appeared in the field, and some guide books, like the Nikko-zan Shi, included 
 designs by several contributors. The latest of the more important "Meishos" were 
 the Tonegazva dzu shi (1856), illustrated by various artists, and the Kwaraku Meisho 
 dzu-ye (1859), with pictures by Hanzan Yasunobu. 
 
 As previously noted, the handbooks embellished by Shunchosai were not the first 
 publications descriptive of well-known places. Views of Yedo appeared before the end 
 of the seventeenth century. The Kwaraku Saikendzu, published in 1703 (see No. 454) 
 contained good drawings of buildings and landscapes, and anticipated the kusa-zoshi 
 in placing the text upon the same page with the illustration (but in this case writing 
 and sketch were separated by cloud-like outlines) ; the Togoku meisho Shi, a description 
 of noted places in Eastern Japan, illustrated by Tsukioka Tange, was printed in 1762, 
 and a number of orihon volumes with hand-coloured drawings in panoramic form 
 were issued between 17 10 and 1770. None of these essays, however, merit com- 
 parison with the handbooks of Shunchosai and his followers. The Meizan dzu-ye of 
 Tani Buncho is an excellent supplement to the group of the " Meisho dzu-ye," and 
 contains many admirable sketches of the mountain scenery of Japan. 
 
 The illustrations of these works as a class are very spirited, and notwithstanding 
 the absence of light and shade and the defects of perspective, conveyed a vivid and 
 faithful impression of the scenes depicted. Equal justice was rendered to the people 
 whose figures appeared in the landscape, street, or building, and the more idealized 
 pictorial transcripts of history and folk-lore were well composed and told their story 
 with good effect. The introduction of arbitrary cloud forms used for decorative 
 purposes by the masters of the ancient Japanese school was adopted for convenience 
 in the "Meisho" drawings, partly to exclude unnecessary details, and partly to secure 
 a space for descriptive text. The picture, when large enough to cover two pages, 
 was divided into two halves, and where the range of view was unusually wide, the 
 design often extended in segments over three, four, or more pages, a separate block 
 being necessarily used for each page. 
 
51 
 
 CASE K. 
 
 451 Ise San-go meisho dzu-yi. 6 vols. Noted places in the neighbourhood of 
 
 the temples of Ise. Artist, Shitomi Kwangetsu. Osaka, 1798. 
 
 Zi?«/ by Mr. W. Anderson. 
 
 452 Settsu meisho dzu-ye. 12 vols. Noted places in the province of Settsu. 
 
 Artist, Takehara Nobushig4 or Shunchosai. Osaka, 1796-8. 
 
 Lent by Mr. E. Dillon. 
 
 Subject of illustration : Shop in Osaka, with experiments in electricity. 
 
 453 Miako meisho dzu-yi. 1 1 vols. Noted places in Kioto. Artist, Takdhara 
 
 Nobushig^, or Shunchdsai. Osaka, 1787. 
 
 Lent by Mr. W. Anderson. 
 
 454 Kicaraku Sai-ken dzu. 12 vols. Scenes in Kioto. Artist unknown. 
 
 Hishigawa school. Kioto, 1703. 
 
 Lent by Mr. W. Anderson. 
 
 455 Idzumi meisho dzu-y4. 4 vols. Noted places in the province of Idzumi. 
 
 Artist, Tak^hara Nobushig^, or Shunchosai. Osaka, 1796. 
 
 Lent hy Mr. W. Anderson. 
 
 456 Ki no Kuni meisho dzit-yd. Noted places in the province of Kishiu. 
 
 Artist, Nishimura Chiuwa. Osaka, 1789 and 1835 ; republished, 
 
 1812 and 1838. 
 
 Lent hy Mr. W. Anderson. 
 
 457 Miako Riusen meisho dzu-ye. 6 vols. Noted gardens of Kioto. Artist, 
 
 Tak^hara Nobushig6, or Shunchosai. Osaka, about 1799. 
 
 Lent hy Mr. W. Anderson. 
 
 458 Togoku meishO'Shi. 5 vols. Noted places in Eastern Japan. Artist, 
 
 Tsukioka Tange. Engraver, Yoshimi Jiuzayemon. Kioto, 1762. 
 
 Lent hy Mr. W. Anderson. 
 
52 
 
 CASE L. 
 
 459 Yedo meisho dzu-ye. 20 vols. Noted places in and near Yedo. Artist, 
 
 Hasegawa Settan. Yedo, 1832-6. 
 
 Lent by Mr. E. Dillon. 
 
 460 Kashima meisho dzu-ijS. Noted places about Kagoshima. Artist, 
 
 Gakutei Yashima Sadaoka. Osaka, 18 18. 
 
 Lenl by Mr. W. Anderson. 
 
 461 Banshiu meisho jimran dzu-ye. 5 vols. Noted places around Banshiu. 
 
 Artist, . Osaka, 1804. 
 
 Lent by Mr. W. Anderson. 
 
 462 Yamato meisho dzu-yi. 7 vols. Noted places in the Province of 
 
 Yamato. Artist, Takehara Nobushige or Shunchosai. Kioto, 1791. 
 
 Lent by Mr. W. Anderson. 
 
 463 Tokaido meisho dzu-ye. 6 vols. Noted places in the Tdkaido. Artist, 
 
 Takehara Nobushige or Shunchosai. Yedo (?), 1791. 
 
 Lent by Mr. W. Anderson. 
 
 464 Nikho-zan Shi. 5 vols. Description of Nikko. Artists various 
 
 (Hokusai, Sadahide, and others). Yedo, 1836. 
 
 Lent by Mr. W. Anderson. 
 
 465 Omi meisho dzu-ye. 4 vols. Noted places at Omi. Artists, Sekitsuki, 
 
 Nishimura Chiuwa. Osaka, 18 14. 
 
 Lent by Mr. W. Anderson. 
 
 466 Sumiyoshi meisho dzu-ye. 5 vols. Noted places in Sumiyoshi. Artist, 
 
 Ishida Giokuzan. Osaka, 1794. 
 
 Letit by Mr. W. Anderson. 
 
53 
 
 CASE M. 
 
 467 Narita meisho dzu-ye. 5 vols. Noted places in Narita. Artists various 
 
 Engravers, Egawa Sentaro and Takeguchi Teisai. Yedo, 18 . 
 
 Lent by Mr. W. Anderson. 
 
 468 Saikoku san-Jiu-san Jca-sho meisho dzu-ye. 10 vols. Thirty- three famous 
 
 places in Saikoku (Western Japan). Artists, Matsukawa Hanzan 
 and Uwakawa Kosa. Osaka, 1853. 
 
 Lent hy Mr. W. Anderson. 
 
 469 HokuyeUu seppu. 7 vols. Snow scenes in Etchizen, some printed from 
 
 2 blocks. Artist, Kiosui. Date 1842. 
 
 Lent hy Mr. W. Anderson. 
 
 Subject of illustration : The quest of the precious crystal. 
 
 470 Itmkmhima meuho dzu-ye. 5 vols. Noted places about Itsukushima. 
 
 Artist, Olshi Matora. Yedo, 1842. 
 
 Lent hy Mr. W. Anderson. 
 
 Subject of illustration : A cool and pleasant retreat, Riverside tea-house. 
 
 471 Nenjiu gio-ji dai-sei. 6 vols. The Festivals of the year, illustrated. 
 
 Artist, Hayamidzu Shunkiosai. Yedo, 1807. 
 
 Lent hy Mr. W. Anderson. 
 
 472 Kwarakii meisho dzu-yS. 8 vols. Noted places in Kioto. Artist, Hanzan 
 
 Matsukawa Yasunobu. Kioto, 1859. Republished 1862. 
 
 Lent hy Mr. W. Anderson. 
 
 473 Zenkbji-do meisho dzu-yS. 5 vols. Noted views on the road to Zenkoji, 
 
 Artist, Haruye Tadachika. Engravers, Nakamura Jisuke, Inoiiye 
 Shirobiyoy6, Masaki Norifusa. Nagoya, 1849. 
 
 Lent hy Mr. W. Anderson. 
 
 474 Kompira Sankei meisho dzu-yi. 6 vols. Noted places in the neigh- 
 
 bourhood of the temple of Kompira. Artist, Kotak6. Yedo, 1847. 
 
 Lent hy Mr. "FF. Anderson. 
 
 475 Geishiu Itsukushima dzu-ye. 5 vols. The Treasures of the Temple of 
 
 Itsukushima. Artist, Yamano Shunposai. Hiroshima, 1842. 
 
 Lent hy Mr. JF. Anderson. 
 
54 
 
 CASE N. BOOKS CONNECTED WITH 
 VARIOUS INDUSTRIES. 
 
 476 Bon-gwa shitori geiko. Guide for Self-instruction in Painting Trays. 
 
 Printed in colours. Artist, Hokusai. Yedo, about 1830. 
 
 Lent by Mr. W. Anderson. 
 
 477 Makiyi dai-zen. 3 vols. Designs for Lacquer Painters. Artist, Hokkio 
 
 Harukawa. Yedo, 1759. 
 
 Lent hy Mr. W. Anderson. 
 
 478 and 478a Sankai meizan dzu-yi. 6 vols. Industrial Products. Terrestrial 
 
 and Marine. Artist, Hasegawa Mitsunobu. Yedo, 1754. 
 
 Lent hy Mr. S. Virtue Tehhs and Mr. E. Billon. 
 
 479 Tokiwa-gL 3 vols. Designs for dresses. Kioto, 1700. 
 
 Lent by Mr. W. Anderson. 
 
 480 Sessen hinagata. 2 vols. Designs for pipes. Artist, Hokusai. 
 
 Engraver, Egawa Tomikichi. Yedo, 1828. 
 
 Lent by Mr. TF. Anderson, 
 
 481 Book of Ancient Patterns for Textiles. 
 
 Lent by Mr. E. Billon. 
 
 482 Kodo dzu roku. Illustrated account of copper mining. Artist, Nanpo. 
 
 Osaka, about 1850. 
 
 Lent by Mr. TF. Anderson. 
 
 483 Moyo hinagata Naniica no ttmS. 3 vols. Patterns for dresses, printed 
 
 in colours. Tokyo, 188 — . 
 
 Lent by Mr. W. C. Alexander. 
 
55 
 
 CASE O. BOTANICAL WORKS. 
 
 485 Shinchb somoku dzu-seUu. 20 vols. Botanical work by Iinouma 
 
 Youssetsu. Illustrations partly coloured by hand. In Vol. I. 
 of the re-issue is a lithographed portrait of the Author. This 
 was probably the earliest effort of the Japanese at this process 
 of reproduction, Okaki (Mino), 1836. Reprinted 1869. 
 
 Lent hy Mr. W. Anderson. 
 
 486 Sarasa dzu-fu. Drawings of plants. Tedo, 1785. 
 
 Len/ by Mr. E. Dillon. 
 
 487-9 Tanota-gusa. 3 vols. Guide to the Arrangement of Flowers in Vases. 
 Artist, Yoshida Togetsu. Yedo, 1822. 
 
 Lent hy Mr. E. Dillon. 
 
 490 &-hon Noyama gusa. 3 vols. Drawings of Flowers. Printed in colours. 
 
 A reprint of an earlier work. Tokyo, about 1886. 
 
 Lent hy Mr. S. Virtue Tebbs. 
 
 491 Shincho somoku dzmetsu. See 486. 
 
 Lent hy Mr. H. Virtue Tehbs. 
 
 492 E-hon Noyama gusa. 5 vols. Drawings of the Vegetation of Hill and 
 
 Plain. Artist, Tachibana Yasukuni. Engravers, Fujimura 
 Zeny^mon and Fujiyd Shirobiyoy^. Osaka, 17 . Republished 
 1804. 
 
 Lent hy Mr. TV. C. Alexander. 
 
 493 Honzo gwa-fn. 3 vols. Botanical Work. Artist, Okada Scifuku. Yedo, 
 
 about 182c. 
 
 Lent hy Mr. TV. Anderson. 
 
 494 Tohi Shinkio. 3 vols. Drawings of Flowers. Printed in colours. 
 
 Artist, Nomura Bunsho. Yedo, 1857. 
 
 Lent hy Mr. TV. Anderson. 
 
 495 ^-hon Noyama gma. See No. 492. 
 
 Lent hy Mr. ff. Virtue TMt. 
 
56 
 
 CASE P. ENGRAVINGS ON COPPER AND STONE. 
 
 Etching upon Copper has been little employed by the Japanese, although the process 
 is well adapted for the reproduction of some of the most characteristic of their pictorial 
 designs. It was introduced in the i6th century by the Jesuits, and there is in the 
 British Museum a Japanese volume, printed in 1598, in Roman type, with a frontispiece 
 engraved on copper, in the European fashion, probably by an unskilled European 
 hand, but possibly by a Japanese copyist. The art was forgotten till it was again 
 brought forward near the end of the last century, by Shiba Gokan, who had studied 
 the process in Nagasaki, under the instruction of a native of Holland. Drawings of 
 European etching tools were given in a book called Kdmo Zatsuwa, published in 1785 
 (British Museum), and from this time examples of the art were issued at intervals, 
 most of them bearing traces of "Western" perspective, and even showing some 
 rudiments of light and shade, a part of the lesson taught by the Dutch master of 
 Gokan. The principal albums of copper plates are the Doban Saigwa cho, by Okada 
 Shuntosai and Tokaidd go-jiu-san Eki, a series of views on the road between Yedo 
 and Kioto, both published about 1855, and a few volumes of miscellaneous sketches, 
 executed within the last few years. No. 498 may be regarded as a fair specimen of 
 the work. The process employed in this case, as probably in all others, involved 
 the use of acid as a mordant, the dry point being employed only to correct defects 
 in the biting in. Incised designs upon ornamental objects of bronze and other metals 
 are of much older date, and the impressions taken from some works of this kind 
 have all the effect of the most vigorous work of the book etcher. Some very 
 beautiful printings from Kagami-biita (button-like plaques forming part of a certain 
 kind of netsuk6), obtained by M. Burty, in illustration of his collection, will be found 
 in No. 565. 
 
 Lithography has been practised to a small extent during the last fifteen or twenty 
 years. A portrait of the botanist linouma Yokoussai, executed as a frontispiece to 
 the Shincho Somoku dzusetsu in 1874, a plate in the Meiji Tai-heiki, of about the 
 same date, and the illustrations to the Kwanko dzusetsu, of Mr. Ninagawa (1875), 
 all of indifferent merit, may be regarded as average examples of the work. In the 
 last few years, however, two very successful essays in chromolithography have been 
 produced, the KoKkwa Yoko, an illustrated description of native antiquities published 
 in '1880, and the N ami no Nishiki, an album of Japanese fishes (1883), which in many 
 respects can scarcely be excelled. 
 
 496 Tokaido go-jiu-san £ki. The fifty-three stations on the Tokaido. 
 Engraved on Copper. Drawings show perspective and light and 
 shade. Yedo, about 1850. 
 
 Lent hy Mr. W. Anderson. 
 
57 
 
 497 Guide-Book to the Places of Interest in and about Kioto. With 
 
 English text. Published for foreign visitors. With Illustrations 
 engraved on Copper. Kioto, 1873. 
 
 Lent hy Mr. A. Lucaa. 
 
 The plates appear to have been used before. The text is a good example of 
 Japanese "English as she is spoke." 
 
 498 Bohan Sai-gira cho. Miscellaneous Sketches of Scenery, engraved on 
 
 Copper. Drawings in the ' European ' style. Artist and Engraver, 
 Shuntosai. Yedo, about 1858. 
 
 Lent ly Mr. G. P. Boyce. 
 
 499 Ban-ko gica-shiki. Miscellaneous Sketches, engraved on Copper. Artist 
 
 and Engraver, AraY Hakutan. Tokyo, 1881. 
 
 Lent hy Mr. W. Anderson. 
 
 500 Illustrations to the Epitome of the Ancient History of Japan. Collected 
 
 and arranged by N. McLeod. Tokyo, 1877. 
 
 Lent by Mr. E. Dillon. 
 A miscellaneous collection of copper-plates, some bearing eccentric remarks by 
 the collator. 
 
 501 Hakuran yi. Drawings of Tokyo houses, engraved on copper. 
 
 Tokyo, 1885. 
 
 Lent hy Mr. R. Pheni Spiers. 
 
 502 Nami no Nishiki. Drawings of fishes. Chromolithographed. Tokyo, 
 
 1883. 
 
 Lent hy Mr. W. Anderson. 
 
 503 Kokktca Toko. 2 vols. Drawings of ancient relics. Chromolithographed. 
 
 Tokyo, 1880. 
 
 Lent hy Mr. W. Anderson. 
 
 504 " Japanese types," lithographic engravings. Artist, Watanab6 Yuko 
 
 (Madame). Tokyo, 1886. 
 
 Lent hy Mr. W. Anderson. 
 
 505 " A pictorial Museum of Japanese Manners and Customs." Lithographed. 
 
 Artist, Mokugio. Tokyo, 1884. 
 
 Lent hy Mr. W. Anderson, 
 
 8 
 
58 
 
 Case 0. BOOKS SHOWING CONTACT with EUROPE. 
 
 Illustrated in what the Japanese consider to be the European Style. 
 
 506 Gwa-to sat yu dan. $ vols. Travels in the Western provinces. Artist, 
 
 Shiba Gokan. Yedo, 1781. Lent hy Mr. W.Anderson. 
 
 507 Sekicai Setsiii/o miijin zb. An encyclopaedia, with an introduction 
 
 upon Foreign Civilization. Tokyo, 1873. 
 
 Lent hy Mr. H. Virtue Tehhs. 
 
 508 Nagasaki miyag6. Lent hy Mr. E. Dillon. 
 
 Subject of illustration : European (Dutch) room in Nagasaki. 
 
 509-16 Kaigai Shimca. The Sinico-Japanese version of the Opium War. 
 
 Lent hy Mr. E. Dillon. 
 Illustrations: 509. British Man-of-War. 510. The Burning of the Imported 
 Opium; Collapse of the Foreign Barbarians. 511. The Attack on the 
 British Ship. 512. The Bombardment of the British Fleet. 513. Outrages 
 by British and Indian Soldiers. 514. The Bombardment of the Chinese 
 Fort. 515. The Signature of the Treaty. 516. British Soldiers desecrating 
 Chinese Graves. 
 
 517 ^ekai kuni dzukiishi. Pictures of Foreigners. Lent hy Mr. H. Virtue Tehhs. 
 
 Subject of illustration : The Queen of England and the Emperors of Austria, 
 France, and Russia. 
 
 518 Nagasaki miyage (see No. 508). Lent hy Mr. E. Dillon. 
 
 Subject of illustration : Dutchman and servant. 
 
 519 Kwaishi henko shaku. Description of Foreign work in Japan. The 
 
 Interior of the Mint at Osaka. Lent hy Mr. R. Phene Spiers. 
 
 520-22 Yokohama kaiko kemmin nhi. The Foreigners in Yokohama. Artist, 
 Gountei Sadahide. Yedo, 1 862. Lent hy Mr. R. Phene Spiers. 
 
 Illustrations : An American Lady. Mulattoes. Billiards. The Photographer. 
 
 523-29 Jimbutsu Kaigai shoden. Stories of Foreign Celebrities, 
 
 Lent hy Mr. E. Dillon and Mr. F. V. Dickins. 
 Illustrations : 523. Construction of Warships. 524. Napoleon and European 
 Potentates sitting in state. 525. Torture of the Due d'Enghien. 526. 
 Diogenes and Alexander. 527. Napoleon at St. Helena (see Fig. 15). 
 528. Funeral of Napoleon. 529. A Diplomatic Conversation. 
 
 530 Three sheets of ornamental letter paper. Lent hy Mr. H. Virtue Tehhs. 
 
 Designs of cranes, flowers, and sea-beach. 
 
59 
 
 Fig. 15. — The Banishment of Napoleon: from i\i& Jimbuisu katgai shoden. No. 527. 
 
 CASES R AND S. ILLUSTRATED NOVELETTES. 
 
 The oldest illustrated books were poetical and semi-historical romances of the type 
 of the Isi Monogaiari and Heiji Monogatariy Nos. 25 1 and 252, which appeared in the early 
 part of the 17th century. These were soon reinforced by contemporary fiction, in the 
 illustration of which almost every popular artist of note appears to have taken part, 
 from Moronobu to Kuniyoshi. The first examples of this group were of two sizes, a 
 large octavo, usually devoted to the reprints of the older stories, and a duodecimo, 
 generally less ambitious in style and contemporary as to text. The engravings in both 
 were either confined each to a single page, or covered two opposite pages ; in the latter 
 case two blocks, one for each half of the drawing, being required. In some instances 
 
6o 
 
 the cuts were coloured by hand, as in the Heiji Monogatari (1626), and a few of the 
 works illustrated by Hishigawa Moronobu ; and from the first, as in No. 251, the design 
 was characterized by the introduction of fictitious clouds, in imitation of the printings 
 of the old Japanese (Yamato) School. About 1730 was added an oblong duodecimo, 
 No. 534, a form still preserved in some of the modern books for artisan designers ; but 
 the most curious style of book-printing was that of the " kusa-zosht" which dates from 
 about the same period, and was contributed to by most of the well-known popular 
 artists of the 1 8th and 1 9th centuries, including Tcrii Kiyonobu, Kiyomitsu, Kiyonaga, 
 Kiyotsun6, Tomikawa Ginsetsu, Hokusai, Yeishi, Utamaro, Toyokuni, and Toyohiro. 
 The kusa-zoshi was a book of very small dimensions, usually divided into a number of 
 thin fasciculi, the covers of which in the later specimens were resplendent with 
 chromo-xylographic illuminations (see No. 155), and each page or pair of opposite pages 
 bore a design that occupied nearly the whole of the space, the text being relegated 
 to any part of the margins into which it could be intruded without obscuring the 
 picture (see Fig. 16). 
 
 From about the beginning of the 19th century many of the novels reverted to the 
 octavo form, and the first volume or fasciculus of each work or section of a work was 
 usually prefaced by a few introductory plates, printed from two or three blocks. These 
 stories were often of tremendous length, sometimes extending over sixty, a hundred, or 
 more volumes, and in one class the sentiment was apt to run in a somewhat violent 
 strain, bringing before us such an assemblage of ghastly murders, bloody combats, and 
 ghostly apparitions, intermingled with such feats of superhuman strength and ideal 
 heroism, that it is difficult to imagine the books were created by and for the most 
 kindly, gentle, and pacific people in the world, the Japanese trading and artisan 
 community. It would be a task of extreme interest to trace the evolution of 
 Japanese fiction from the early days of the Kioto Court, which gave birth to the refined 
 patrician compositions of the type of the Genji Monogatari, down to the modern 
 era of Kioden, Bakin, and Tanehiko. 
 
 CASE R. 
 
 Artist. Date. 
 
 531 Unknown. 1662. 
 
 532 Torif Kiyonobu. About 1700. 
 
 533 Torii" Kiyomitsu. „ 1720. 
 
 534 Nishigaw^a Sukenobu. „ 1720. 
 
 535 Torii Kiyonaga. „ 1765. 
 
 536 Torii Kiyotsune. „ 1765. 
 
 537 Tomikawa Ginsetsu. „ 1760. 
 
 538 Kitawo Masanobu (Kioden). „ 1800. 
 
 539 Rantokusai. „ 1800. 
 
 Lent hy Mr. W. Anderson, 
 
 Mr. Ernest Satow, C.M.G. 
 
 Mr. W. Anderson. 
 
 Mr. Ernest Satow, C.M.G. 
 
!!■■ 
 
 
 ] 
 
 II 
 
 
 
 V)CV-. 
 
 vj^^ei5^~^: 
 
62 
 
 CASE S. 
 
 Artist. 
 
 539a Taitoku. 
 
 539b Kitavvo-Masayoshi. 
 
 539c Kitagawa Utamaro. 
 
 Date. 
 
 1798. 
 
 about 1800. 
 1800. 
 
 Lent hy Mr. W. Anderson. 
 
 539r) Shunro, late Gumbatei (Hokusai). 1798- 
 
 539e Hosoi" Yeishi. about 1800. 
 
 539f Utagawa Toyohiro. „ 1805. 
 
 539g Utagawa Kunisada. „ 1840. 
 
 539h Utagawa Kuniyoshi. „ 1850. 
 
 539l Utagawa Yoshitoyo. „ 186$. Lent bi/ Mr. R. Virtue Tebbs. 
 
 CASE T. ILLUSTRATED NOVELS, ETC. 
 
 540 Minamofo Raiko Monogatari. 3 vols. Story of Raiko, a legend of the 
 
 loth' century. Artist, Shimokawabe Jiusui. Engraver, Ishwara 
 Hanbei. Kioto, 1786. 
 
 Lent hy Mr. W. Anderson. 
 Subject of illustration : Suy^take casting the stone at the Goblin face. 
 
 541 Shichifuhu Monogatari. 2 vols. Novelette by Bakin. Artist, Utagawa 
 
 Toyokuni. Yedo, 1809. 
 
 Lent ly Mr. W. Anderson. 
 
 Subject of illustration : a wedding. 
 
 542 ^-hon Ddji Idyo. 5 vols. A Pictorial Book of Instruction for Boys. 
 
 Artist, Ishida Giokuzan. Yedo, 1806. 
 
 Leyit hy Mr. W. Anderson. 
 
 543 ^-hon Tsuzoku San-koJac ski. 75 vols. Novel by Ikeda Toritei. Artist, 
 Hokusai. Engraver, Inoiiye Jihei. Yedo, 1836. 
 
 Lent hy Mr. W. Anderson. 
 
63 
 
 CASE U. MISCELLANEOUS ILLUSTRATED 
 
 BOOKS. 
 
 644 Tohakld go-jiu-san tsugi Sho-he.i. 4 vols. (Orihon.) Views of the Fifty-three 
 
 Stations of the Tokaido. Panorama. Printed in colours. Artist, 
 Giokuransai Sadahid^. Yedo, i860. 
 
 Lent hy Mr. W. Anderson. 
 
 645 Toha-yi Ogi no mato. 3 vols. A collection of the Toba-ye or Sketches 
 
 in the style of Toba Sojo, a Buddhist abbot of the 12th century. 
 1720. 
 
 Lent hy Mr. W. Anderson. 
 
 "The Toba pictures" are humorous caricatures which date from the 12th 
 century, and derive their name from the inventor Kaku-yu or Toba Sojo. 
 
 Kakuyu, a distinguished scion of the Minamoto family, was an abbot 
 of the Temple of Miidera, in the province of Omi, in the reign of the 
 Emperor Rokujo (11 66-1 168 a.d.). His more familiar appellation, Toba 
 Sojo (the Toba priest), refers to the monastery Toba no In, where he had at 
 one time resided. He was an accomplished artist in the Chinese style, and 
 appears to have been the first Japanese painter who made a speciality of 
 comic drawing and employed it as a means of attacking official dishonesty. 
 His original works are extremely rare, but the copies which have reached us 
 show that his burlesque manner has been carefully preserved. 
 
 The style did not give rise to a " School," but was taken up by men of 
 arty or no academy who desired to give expression to their feelings in broad 
 caricature. Its peculiarities of design as applied to figures consisted merely 
 in exaggerating the size of the head, giving it a frog-like character by 
 widening the mouth and reducing the nose to a couple of nostril dots, and 
 elongating and attentuating the limbs at discretion. There was, however, 
 no attempt at portraiture, and as the draughtmanship was freed from all 
 academical difficulties, the field was open to artistic and inartistic competitors 
 alike. In some cases, indeed, they gained in comicality by the startling 
 violations of art canons in which their creators indulged, but in others the 
 simplification of the process of production led to floods of mere burlesque 
 scrawls, which could only attract attention by their extravagance of badness. 
 
64 
 
 548 Hiahu-nin shin. Portraits of famous poets, printed on both sides of a 
 
 thick enamelled paper. About 1670, 
 
 Lent hy Mr. W. Anderson. 
 
 This is the only example yet known in which the printing has been executed on 
 both sides of the sheet. The enamelling of the paper is also remarkable. 
 
 547-8 Gegio tori yeshi. A description of whales and whaling. Illustrated. 
 Printed from 2 blocks. About i860. 
 
 Lent hy Mr. W. C. Alexander. 
 
 A remarkable book, containing the first account of the species of whale depicted. 
 The anatomy of the animal is fairly represented. 
 
 549-50 Bairei hiahu-chb. 2 vols. Large Edition. Drawings of birds and 
 flowers, printed in colours. A reproduction on an enlarged scale 
 of No. 412-3. Artist, Bairei. Tokyo, 1886. 
 
 Lent hy Mr. H. Virtue Tehhs. 
 
 FRAMED ENGRAVINGS. WOOD AND COPPER. 
 
 553 Playbill. Yedo, about 1837. Lent hy Mr. W.Anderson. 
 
 554 Theatrical Advertisement. Classified Portraits of Noted Actors, Wrestlers, 
 
 etc. Artist, Utagawa Kunimaro. Yedo, 1837. 
 
 Lent hy Mr. W. Anderson. 
 
 555 Playbill. Yedo, about 1840. Lent hy Mr. W.Anderson. 
 
 556 Playbill. Artist, Torii Kiyomitsu. Yedo, 1824 (original date about 1735). 
 
 Lent hy Mr. W. Anderson. 
 
 557 Talismanic Pictures {Mamitrt). Engraved in Wood. Date uncertain. 
 
 (i) Representation of Demoniacal Figure (Okojo Sama). 
 
 (2) The Thirty-three Buddhas. Letit hy Mr. W. Anderson. 
 
 658 Proof impression of wood engraving. Peachling and the Demons. Artist, 
 Torii Kiyonaga. Yedo, about 1705. 
 
 Lent hy Mr. Ernest Satow, C.M.G. 
 
 This and the three following are impressions from the first or outline block used 
 in chromo-xylography. 
 
6$ 
 
 559 Proof impression of wood engraving. Sakata Kintoki and the bear. 
 
 Artist, Shunro (Hokusai). Yedo, about 1780. 
 
 Lent ly Mr. Ernest Satow, C.M.G. 
 
 560 Proof impression of wood engraving. Girl with New Year's offering. 
 
 Artist, Hosoda Yeishi. Yedo, about 1800. 
 
 Lent by Mr. Ernest Satow, CM. G. 
 
 561 Proof impression of wood engraving. Auditorium of a theatre. Artist, 
 
 Utagawa Toyokuni. Yedo, about 1800. 
 
 Lent by Mr. Ernest Satow, CM. G. 
 
 562 Engraving on copper. Map of the World. Yedo, about i860. 
 
 Lent by Mr. E. Dillon. 
 
 563 Engravings on copper. 
 
 (i) Facsimile of European Engraving. Signed, Suntooesai Woetoeci 
 
 (? Shuntosai Uyetoshi). 
 (2) The Hundred Birds. Yedo, about 1855. 
 
 Lent by Mr. E. Dillon. 
 
 564 Engraving on copper. The Eight Incidents of the Nirvana of S'akyamuni. 
 
 Engraved by Ishida Aritoshi, after a picture by Wu Tao-tsz' (Godoshi), 
 a Chinese Artist of the 8th century. Yedo, 1880. 
 
 Lent by Mr. W. Anderson. 
 
 565 Impressions taken from Netsuk^ Plates {Kagami-buta). Engraved on 
 
 metal by various artists. 
 
 From the Collection of M. P. Burty. 
 
 These spirited engravings were not executed with view to reproduction, but 
 merely for the embellishment of the metallic plates. 
 
 WALL OF PASSAGE AT ENTRANCE OF GALLERY. 
 
 586 Buddhist Kakemono. Wood engraving, coloured by hand. 
 
 Lent by Mr. JR. Fheni Spiers. 
 
 "The Saving Grace of Kwanyin," adapted chiefly from the Chinese Buddhist 
 Text, No. 427. 
 
 9 
 
66 
 
 SUPPLEMENTARY CHROMO-XYLOGRAPHS 
 
 IN FOLIOS. 
 
 601 Girls SORTING Tea. Artist, Osai Fusatand. Signed. Yedo, about 1840. 
 
 Lent by Mr. W. Anderson. 
 
 602 Surimono Design. ' No ' actor. Artist, Giokuyen. Signed. Yedo, 
 
 about 1830. 
 
 Lent hy Mr. W. Anderson. 
 
 603 New Year's Card. Monkey with Shinto emblems dancing before a gong. 
 
 Artist, Giokuyen. Signed, Tempenkan Gokuyen. Yedo, about 
 1 8 10. 
 
 Lent hy Mr. W. Anderson. 
 
 604 Actors. Artist, Hirosada. Signed. Osaka, about i860. 
 
 Lent hy Mr. W. Anderson. 
 
 605 Interior and Exterior of the Saruwaka Theatre, Yedo. 
 
 Artist, Hiroshige. Signed, Utagawa Hiroshige. Yedo, about 1840. 
 
 Lent hy Mr. W. Anderson. 
 
 606 Fan mount. Scene in a ' N5 ' Performance. Artist, Keigaku. Yedo, 
 
 about 1830. 
 
 Lent hy Mr. W. Anderson. 
 
 607 Demon striking a Temple Gong. Artist, Kiosai. Signed, Ojiu Kiokio 
 
 Kiosai. Yedo, about 1870. 
 
 Lent hy Mr. W. Anderson. 
 
 608 Comic Sketches. Artist, Kiosai. Signed. Yedo, about 1870. 
 
 Lent hy Mr. W. Anderson. 
 
 609 Fan mount. ;^bisu and Daikoku with Girl. Artist, Kiyu. Yedo, 
 
 about 1830. 
 
 Lent hy Mr. W. Anderson. 
 
67 
 
 610 The Expulsion of the Evil Spirits {Oniyarai). Artist, Kosai. 
 
 Yedo, about i860. 
 
 Lent hy Mr. JF. Anderson. 
 
 611 Daimio. Artist, Kuniaki. Signed. Yedo, about 1850. 
 
 Lent by Mr. JF. Anderson. 
 
 612 Actors. Artist, Kuniharu. Signed. Yedo, about 1820. 
 
 Le7it by Mr. W. Anderson. 
 
 613 The Empress Jingo, with Take-no-uchi no Sukune and her infant. 
 
 Artist, Kunikane. Signed, Ipposai Kunikane. Yedo, about 1830. 
 
 Letit by Mr. W. Anderson. 
 
 Jingo, who, according to Japanese tradition, was the consort of the Emperor 
 Chiuai, went in obedience to a divine command to subjugate Korea. This 
 she is said to have effected, and returning at the end of three years gave 
 birth to a child, the Emperor Ojin, whose birth had been miraculously 
 delayed during the whole of her absence. She reigned from 201 to 
 269 A.D., and was succeeded by her son, to whose passive influence the 
 whole credit of the Korean Conquest is commonly assigned. Tak6-no-uchi 
 no Sukun^, her general and counsellor, attained the ripe age of 250 years 
 in the service of six successive emperors. 
 
 614 JiUROJiN AND BiSHAMON, with emblems of wealth and learning. Artists, 
 
 Kunimaru and Yoshimaru. Signed, Ichiyensai Kunimaru and Kitawo 
 Kwaransai Yoshimaru. Osaka, about 1835. 
 
 Lent hy Mr. W. Anderson. 
 
 615 Woman and Child. Artist, Kunimasa. Signed, Ichijiiisai Kunimasa. 
 
 Yedo, about 1835. 
 
 Lent by Mr. W. Anderson. 
 
 616 Actor. Artist, Kunimasu. Signed. Yedo, about 1830. 
 
 Lent by Mr. W. Anderson, 
 
 617 6bisu and Fukurokujiu, with emblems of prosperity. Artist, Kunimori. 
 
 Signed, Ipposai Kunimori. Osaka, about 1835. 
 
 Lent by Mr. W. Anderson. 
 
 618 Scene from the play of the 'Loyal League.' Artist, Kuninawo. 
 
 Signed, Utagawa Kuninawo. Yedo, about 18 10. 
 
 Lent by Mr. W. Anderson. 
 
 619 Actor. Artist, Kuninawo. Signed. Yedo, about 1840. 
 
 Lent by Mr. W. Anderson. 
 
68 
 
 620 Okam6 and FUKUSUKli. Emblems of Mirth and Good Fortune. 
 
 Artist, Kuninori. Signed, Ichiyosai Kuninori. Yedo, about 1835. 
 
 Lent hy Mr. W. Anderson. 
 
 620a Girl. Artist, Kunisada. Signed, Toyokuni the Second, late Kunisada. 
 
 Yedo, about 1844. 
 
 Lent hy Mr. W. Anderson. 
 
 621 Marionette Theatre. Artist, Kunisada (Toyokuni the Second). 
 
 Signed, Yedo, about i860. 
 
 Lent hy Mr. W. Anderson 
 
 622 Wrestlers at Riogoku, Yedo. Artist, Kunisato. Signed, Ritsusensai 
 
 Kunisato. Yedo, about 1835. 
 
 Lent hy Mr. W. Anderson. 
 
 623 Kiteflying. Artist, Kuniteru. Signed, IchiyusaiKuniteru, late Sada- 
 
 shige. Yedo, about 1850. 
 
 Lent hy Mr. W. Anderson. 
 
 624 Actor. Artist, Kunitomi. Signed, Hanagawatei Kunitomi. Yedo, about 
 
 1835. 
 
 Lent hy Mr. W. Anderson. 
 
 625 Actor. Artist, Kunitsuna. Signed, Ichirantei Kunitsuna. Yedo, about 
 
 1845. 
 
 Lent hy Mr. W. Anderson. 
 
 626 Institution for the Cure of the Sick. Artist, Kuniyoshi. Signed, 
 
 Ichiyusai Kuniyoshi. Yedo, about 1840. 
 
 Lent hy Mr. W. Anderson. 
 
 To the left is a gaily-attired woman suffering from Melancholy, of which complaint 
 the cure is not indicated ; below a dentist extracts a decayed tooth with a 
 formidable pair of pincers ; in the middle an hysterical girl is about to be 
 treated by the pressure of a great stone ; another leech examines a young 
 girl with a short leg ; a woman pitted by the small-pox holds her face, pro- 
 tected by a mask, over the vapour arising from a boiling vessel ; a noseless 
 man has assumed a very undecorative substitute ; and a sufferer from weak 
 eyes applies a pair of glasses. Towards the left are a dwarf, a dyspeptic, 
 a prodigiously stout man, a miserable-looking creature with a goitre, a 
 famished person with an unappeasable appetite, and a lady whose abnormal 
 largeness of hips is to be reduced by mechanical constriction. Finally, 
 the list of diseases includes ill-temper, and want of money, but un- 
 fortunately no suggestion is offered for the remedy of either of these 
 serious ailments. 
 
69 
 
 627 and 627a " Man is made by accumulated experiences." Portraits 
 
 composed by a cluster of wrestlers. Artist, Kuniyoshi. Signed, 
 Ichiyusai Kuniyoshi. Yedo, about 1850. 
 
 Lent hy Mr. W. Anderson. 
 
 628 Nitta no Shiro and the Vision of Kwanyin. Artist, Kuniyoshi. 
 
 Signed, Ichiyusai Kuniyoshi. Yedo, about 1855. 
 
 Lent ly Mr. W. Anderson. 
 
 Nitta no Shir5 was a famous retainer of Yoritomo in the 12th century. He 
 with some comrades penetrated into a mysterious cave, and saw a vision 
 of the Goddess Kwanyin. Nitta, unmoved by the sight, held converse with 
 her, while his fellows were struck down with terror. 
 
 629 A Charity Sermon by Ikkiu. Artist, Kuniyoshi. Signed, Choworo 
 
 Kuniyoshi. Yedo, about 1850. 
 
 Lent hy Mr. W. Anderson. 
 
 Ikkiu was a talented but eccentric priest, calligraphist, and painter of the 
 15th century. The discourse here represented is evidently one of a moving 
 character. 
 
 630 Actor. Artist, Nans6ro(.?). Seal. Osaka, about 1835. 
 
 Lent by Mr. TF. Anderson. 
 
 631 Actors. Artist, Nishigawa Nobuharu. Signed. Yedo, about 1840. 
 
 Le}it by Mr. W. Anderson. 
 
 632 Actor. Artist, Hasegawa Nobuhiro. Yedo, about 1840. 
 
 Lent by Mr. W. Anderson. 
 
 633 Fukusuke (as Artist) drawing Otsu-ye. Artist, Okusawa Ritsusai. 
 
 Signed. Yedo, about 1845. 
 
 Lent by Mr. W. Anderson. 
 
 Fukusuk6, a good-humoured but fatuous-looking boy with a large head, is in 
 some sort an Emblem of Good-fortune. "Otsu-y6" are caricatures sold 
 at Otsu (near Kioto), a former capital of Japan. 
 
 634 The first Rearing of Silk Worms in Japan by the Consort of 
 
 the Emperor Yuriaku. 5th century A.D. Artist, Giokuransai. 
 Signed. Yedo, about 1855. 
 
 Lent by Mr. W. Anderson. 
 
635 Woman washing clothes. Artist, Giokuransai Sadahide. Signed. 
 
 Yedo, about 1845. 
 
 Lent ly Mr. W. Anderson. 
 
 636 Actor. Artist, Sadahiro. Signed, Gorakusai Sadahiro. Osaka, about 
 
 1845. 
 
 Lent ly Mr. W. Anderson. 
 
 637 Actor. Artist, Sadakage. Signed. Yedo, about 1840. 
 
 Zent by Mr. W. Anderson. 
 
 638 Actors. Artist, Gochotei Sadamasu. Signed. Yedo, about 1850. 
 
 Lent ly Mr. W. Anderson. 
 
 639 Actors. Artists, Hasegawa Sadanobu and Hasdgawa Nobuhiro, Signed. 
 
 Yedo, about 1850. 
 
 Lent ly Mr. W. Anderson. 
 
 640 Girl Praying before the Images of her Parents. Artist, Sadatora. 
 
 Signed, Gofutei Sadatora. Yedo, about 1850. 
 
 Lent ly Mr. W. Anderson. 
 
 641 Actors. Artist, Teisai Sencho. Signed. Yedo, about 1820. 
 
 Lent ly Mr. W. Anderson. 
 
 642 Actor. Artist, Sensai. Signed. Osaka, about 1830. 
 
 Lent ly Mr. W. Anderson. 
 
 643 Girl Rolling up a Letter. Artist, Shigenobu. Signed. Osaka, 
 
 about 1845. 
 
 Lent ly Mr. W. Anderson. 
 
 644 Actors. Artist, Gwakoken Shunki. Signed. Osaka, about 1840. 
 
 Lent ly Mr. W. Anderson. 
 
 645 Actor. Artist, Shunposha. Signed. Yedo, about 1835. 
 
 Lent ly Mr. W. Anderson. 
 
 646 Actor. Artist, Gwajiuken Shunsho. Signed. Osaka, about 1840. 
 
 Lent ly Mr. W. Anderson. 
 
 647 Actor. Artists, {a) Gwachoken Shuntei, {b) Gwachoken Shunyei. Osaka, 
 
 about 1850. 
 
 Len,t ly Mr. IV. Anderson. 
 
71 
 
 648 Actor. Artist, Gwakuken Shunw5. Signed. Osaka, about 1850. 
 
 Lent hy Mr. W. Anderson. 
 
 649 Actor. Artist, Hasegawa Tokubei". Signed. Osaka, about 1845. 
 
 Lent hy Mr. W. Anderson. 
 
 650 The Struggle between Asahina and Soga no Goro ; two Heroes 
 
 of the 1 2th century. Artist, Hanagawatei Tominobu. Signed. 
 Yedo, about 1840. 
 
 Lent hy Mr. W. Anderson. 
 
 651 Hawk and Swallow. Printed in black and grey. Artist, Toyohiro. 
 
 Signed. Yedo, about i860. 
 
 Lent hy Mr. W. Anderson. 
 
 652 Actor. Artist, Toyoshige Signed, Toyoshig6, son of Toyokuni. Yedo, 
 
 about 1830. 
 
 Lent hy Mr. W. Anderson. 
 
 652a Actors. Artist, Um^kuni. Signed, Toyokawa Umdkuni. Osaka, 
 about 1840. 
 
 Lent hy Mr. W. Anderson. 
 
 653 Actors Influenced by Good and Bad Spirits. Artist, Utayama. 
 
 Signed. Yedo, about i860. 
 
 Lent hy Mr. W. Anderson. 
 
 The spirits, which are supposed to be invisible, are represented as little sprites, 
 distinguished as good and bad by the character that replaces their facial 
 lineaments; they hover about the men and prompt their thoughts and 
 actions. 
 
 654 Fukusuke. Parts of face, etc , made up by drawings of fishes, brushes, 
 
 etc. Artist, Ippotei Yoshifuji. Signed. Yedo, about 1850. See 
 
 No. 633. 
 
 Lent hy Mr. W. Anderson. 
 
 655 Woman. Artist, Yoshiharu. Signed, Chokaro Yoshiharu. Yedo, about 
 
 1855. 
 
 Lent hy Mr. W. Anderson. 
 
 656 Actors. Artist, Yoshiki. Signed, Ikkeisai Yoshiki. Yedo, about 1855. 
 
 Lent hy Mr. W. Anderson. 
 
72 
 
 657 Actors. Artist, Yoshikuni. Signed, Yoshikuni, (formerly J iuko). Osaka, 
 
 about 1850. 
 
 Lent hy Mr. W, Anderson. 
 
 658 Daikoku and Child. Artist, Yoshimaru. Signed, Utagawa Yoshi- 
 
 maru. Yedo, about 1840. 
 
 Lent hy Mr. W. Anderson. 
 
 659 Foreigners (Russian, American, and Chinese) at a tea-house. Artist, 
 
 Yoshimori. Signed, Ikkosai Yoshimori. Yedo, about i860. 
 
 Lent hy Mr. W. Anderson. 
 
 660 Actors. Artist, Yoshitora. Signed, Kinchoro Yoshitora. Yedo, about 
 
 1845. 
 
 Lent hy Mr. W. Anderson. 
 
 661 Actor. Artist, Yoshiyuki. Signed. Osaka, about 1850. 
 
 Lent hy Mr. W. Anderson. 
 
 662 New Year's Card. Portraits of Actors. Artists, Yoshiyuki, Hironobu, 
 
 Sadahiro, and Rinshiu. Osaka, about 1850. 
 
 Lent hy Mr. W. Anderson. 
 
73 
 
 Index of Na/vies of Alrtists ai^d Engravers/ 
 
 -r-va.'0-»a5<a'-vjsa..-— »- 
 
 The names by which the later popular artists are known are nearly 
 all patronymics or tioms de phiceati adopted in compliment to their teacher. 
 Thus Kondo Jiubei, on entering the school of Utagawa Ichiriusai Toyohiro, 
 thenceforth signed himself Utagawa Hiroshige, Ichiriusai Hiroshige, or 
 Hiroshigd (the final name is always that by which the person is familiarly 
 designated). As a rule the artist adopts the second character of his 
 teacher's name, and adds to this another which he in turn transmits to his 
 followers, but sometimes the first is chosen. Thus, the pupils of Toyokuni 
 are Kunisada, Kuniyoshi, etc. ; those of Kunisada are Sadatora, Sadamasu, 
 etc. ; those of Hokusai are Hokuba, Isai, etc. More rarely the whole name 
 is taken, either during the life and with the consent of the original owner 
 — thus Hokusai gave his name of Saito to Endo Hany^mon, who became 
 Saito the Second — or after his death as in the case of Kunisada, who in 
 1844 adopted the signature of Toyokuni (died 1828), in place of his own. 
 Other names, again, are founded upon a local or personal allusion, as 
 Hokuso (Itchd), ' the Northern Window ' ; Man Rojin, ' the Ancient of a 
 Hundred Centuries,' etc. Of such designations the person may assume a 
 great number in the course of his lifetime, throwing one aside in favour 
 of another as often as caprice dictates a change, and much to the dis- 
 comfiture of future collectors of his works. 
 
 In the following index the names are enumerated singly. 
 
 • The kind assistance of Mr. M, Kataoka in the preparation of this index has been of great value. 
 
 10 
 
INDEX. 
 
 Ai-kawa-tei y^ }]\ ^ 37, 40. 
 An-do ^ Bi ^1, 42. 
 Ara-i fl ^ 57. 
 Ari-toshi ^ ^ 65. 
 Asa-hi-na |^ J;b ^ 16. 
 Ashi-yu-ki p f§ ^ 24. 
 
 Bai-koku (or Um6-kuni) |§ P 71. 
 
 Bai-rei f^ ^ 45, 64. 
 
 Bai-s6-yen |^ ;g*, ^ 24. 
 
 Ba-sho ^ ^ 31. 
 
 Boku-sen ^ jllj 42. 
 
 Bum-p6 % li. 33. 
 
 Bun-ch5 (Ippitsusai) ^ fjg 6, 7. 
 
 Bun-cho (Tani) ^X K 33, 40. 
 
 Bun-kaku 3SC ^ !• 
 
 Bun-sen ;^ ^ 38. 
 
 Bun-sho 35c f-?i 55. 
 
 Chiku-do ft ^ 32, 34. 
 Chiku-gwa ft JJI 34. 
 Chiu-go-ro *, ^ IliJ 39. 
 Chiu-wa 4* f[] 51, 52. 
 Cho-bun-sai ,% ^5;; jf 12, 31. 
 
 Cho-ka-ro ^ ^ W: 71. 
 
 Cho-ki ^ ;^ 13. 
 
 Ch5-ko 5i -jfcr 32. 
 
 Ch5-mu-ro ^^ 4ffi ;fi 16. 
 
 Cho-shun ^ ^ xv. 
 
 Cho-wo-ro ^ i^ ^ 19, 22, 69. 
 
 6-gawa ^ JIJ 36, 37, 53, 54. 
 End5 i^ W 31. 
 
 Fuji-mura |i ff 28, 29, 55. 
 Fuji-ye ^ JX 30, 55. 
 Fusa-nobu j^ is 7. 
 Fusa-tane ^ fj 66. 
 
 Gaku-tei .g- ^ 17, 43, 52. 
 Gen-ko-sai ^ ^ ^ 34. 
 Gen-ran ^ ^ 15. 
 Gen-shi-ro ^ HD 15 6. 
 Gen-tai ^ # 38. 
 Gen-ye-i-mon '}|f, :=& fj P^ 28, 29. 
 Ges-sai M ^ 37. 
 Ges-sh5 M M 33, 41. 
 Gin-setsu P^ ^ 7, 60. 
 
75 
 
 Gioku-ran-sai ^ ^ ^ 18, 24, 63. 
 
 Gioku-riu-tei H ^ ^ 25. 
 
 Gioku-yen ^ ^ 66. 
 
 Gioku-zan ^ jlj 52, 62. 
 
 Go-cho-tei 5. ii ^ 16, 23, 70. 
 
 Go-fu-tei 3L JH ^ '''^• 
 
 Go-j5-tei jS. 1^ ^ 36« 
 
 Go-kan ^ ^ 58. 
 
 Go-ki-tei 5. ^ ^ 17. 
 
 Go-raku-sai 5. ^ If 70. 
 
 Go-to-tei 5. ^ ^ 13, 14, 16, 17, 
 
 18, 19, 20. 
 Go-un-tei 5. ^ ^ 58. 
 Gum-ba-tei ^f) .1^ ^ 62. 
 Gvva-cho-ken S !^ $f 70. 
 Gwa-jiu-ken ® ^ $^ 70. 
 Gwa-ko-ken ® if ff "0. 
 
 Hachi-y6-i-mon A ^ ^ PI 
 
 Haku-tan ^ ?$ 57. 
 
 Hanabusa ^ 29. 
 
 Hana-gawa-tei 3j^ JlJ I^ 
 
 Han-be-i i|2 ^ ^ 62. 
 
 Han-p6-shi ^ ;;^ -^ 45. 
 
 Han-zan ^ jlj 53. 
 
 Haru-kawa ^ Jlj 54. 
 
 Haru-nobu § fg 7, 31. 
 
 Haru-y6 ^ ^ 53. 
 
 Ha-s6-gawa ^g ^ }\\ 17, 27, 52, 
 
 54. 
 Haya-midzu 5^ 7^ ^3. 
 Hiro-nobu ^ ^ 72. 
 Hiro-sada ^ ^ 66. 
 Hiro-shige ^^ 1; 16, 17, 18, 20, 21, 
 
 22, 23, 25, 41, 66. 
 Hishi-gawa M Jll 27. 
 Ho-getsu-do ^ M ^ 1, 4. 
 Ho-itsu % — 32, 33. 
 Hok-kei it -^ 14, 15, 16. 
 Hoku-ba ^^ Mj xxxv. 
 Hoku-cho ;Jf; ^ 23. 
 
 Hoku-sai :II: ^ 8, 14, 15, 25, 31. 34, 
 
 35, 36, 37, 52, 54, 62, 65. 
 Hoku-shiu :\t §^ 24. 
 Hoku-to ;}{^ :j-^ XXXV. 
 Hoku-un ^[^ ^ XXXV. 
 Hoku-yei -Jit ^ 24. 
 Ho-nen (or Yoshi-toshi) ^ ^ 18. 
 Hoso-i IB ^ 8, 9, 12, 31, 62, 65. 
 
 Ichi-riu-sai — jt ^ 16, 21. 
 Ichi-yei-sai — ^ ^ 18. 
 Ichi-5-sai ~ ^i ^ 68. 
 Ichi-yu-sai (Kuni-yoshi) — 1^ ^ 16, 
 
 20, 21, 22, 69. 
 Ichi-yu-sai (Kuni-teru) — . ^ ^ 68. 
 Ik-kei-sai — B ^ 71. 
 Ik-ka-sai — ^ ^ 72. 
 I-no-uy6 ^ J: 30, 31, 33, 34, 53, 
 
 62. 
 Ip-pitsu-sai — 3^ ^ 6, 7. 
 I-sai ^ ^ 37. 
 Ishi-da ;5 m 52, 62, 65. 
 Ishi-kawa :S Jl| 4, 6, 28. 
 Ishi-wara /^ j^ 62. 
 It-cho — ^ 29, 44. 
 Iwa-ji ^ f&, 34. 
 
 Ji-he-i f& :E ^ 32, 34, 62. 
 Jiu-sui ^ 7K 62. 
 
 Kadzu-maro — J^ 17. 
 
 Kage-toshi -^ ^ 16. 
 
 Ka-ko m m 36. 
 
 Ka-no ^ if 30. 
 
 Kan-rin ^ |f: 38. 
 
 Katsu-gawa B }\\ 6, 7, 8, 10, 15, 21, 
 
 30, 31. 
 Katsu-shika % fijj 31, 37. 
 Kawa-bata Jl] ^ 39. 
 Kawa-nabe f^f ^ 45, 46. 
 Kei-gaku ^ -^ 66. 
 
76 
 
 Kei-sai (Yeisen) -^ ^ 20, 23, 37. 
 Kei-sai (Masayoshi) ^ ^ 13, 30, 
 
 32, 41. 
 Ken-ken-sai 1^ ^ ^ 38. 
 Ki-h6-i ^ :£ ^ 46. 
 Kiku-chi f M 39. 
 Kiku-gawa ^ /H 12, 14, 16. 
 Kin-cho-ro ii U| ;1 72. 
 Kin6-sd-i j;^ ^ ^ 6. 
 Kio-den 3^ f^ 60. 
 Kio-sai ^ ^ 44, 45. 
 Kio-sai ^£ # 46. 
 Kio-sui ff^ P 53. 
 Ki-sai ^ 5f 43. 
 Kita-gawa :Ifc j\\ 6, 11, 12, 13, 24. 
 
 32, 39, 42. 
 Kita-wo ;l[j ^ 5, 10, 13, 30, 31, 32, 
 
 41, 60, 62. 
 Kiyo-hiro ^ ^ 5. 
 Kiyo-masu y^ f§ 1. 
 Kiyo-min6 '^ ^ 6. 
 Kiyo-mitsu 'JH ^ 4, 60, 64. 
 Kiyo-naga '^ -^ 5, 60, 64. 
 Kiyo-nobu -J^ ^ 4, 60. 
 Kiyo-shige -^ ^ 5. 
 Kiyo-tani ^ ^ 4:. 
 Kiyo-tsune -^ $1 5, 7, 60. 
 Ki-yu 66. 
 K5-ch5 ^ ^ 43. 
 K6-ch6-r6 ^ j|g fg 16. 
 K6-ken ^ ^ 42. 
 K6-rin ^ 3^ 33, 42. 
 Ko-riu-sai 'M II # ^. 
 Ko-sai ^I ^ 67. 
 Ko-sui-sai ^X % ^ 13, 31. 
 Ko-take >J> ft 53. 
 Koy6-kawa j^JS Jjj 78. 
 Kuni-aki ^ JJJ 67. 
 Kuni-haru ^ ^ 67. 
 Kuni-hiro ^ ^ 24, 25. 
 Kuni-kag6 g J; 13. 
 
 Kuni-kane ^ ^ 67. 
 
 Kuni-kiyo ^ ^ 23. 
 
 Kuni-maru g ^^ 16, 64, 67. 
 
 Kuni-masa P i|5: 12. 
 
 Kuni-masu P ^ 67. 
 
 Kuni-mitsu ^ ?^ 10. 
 
 Kuni-mori ^ :^ 67. 
 
 Kuni-naga ^ ^ 12. 
 
 Kuni-nawo ^ "{it 5. 
 
 Kuni-nori ^ j^ 18. 
 
 Kuni-sada ^ _^ 10, 13, 14, 16, 17, 
 
 18, 19, 20, 21, 42, 44, 62. 
 Kuni-sato ^ j^^ 17. 
 Kuni-teru ^ || 68. 
 Kuni-tomi ^ ^ 68. 
 Kuni-tsuna I^ ^ 68. 
 Kuni-yasu ^ ^ 16, 17, 22. 
 Kuni-yoshi g ^ 19, 20, 21, 22, 23, 
 
 62, 68, 69. 
 Kwa-ran-sai ^ M ^ 67. 
 Kwan-getsu ^ ^ 51. 
 
 Machi-da flj ffl 43. 
 
 Man-wo r^ ^ 35. 
 
 Masa-nobu (Kita-wo) i|lC j^ 10, 60. 
 
 Masa-nobu (Okumura) ij^ fg 1, 4, 
 
 28. 
 Masa-yoshi \^ ^ 13, 30, 32, 41, 
 
 62. 
 Ma-tora M: J^ 42, 53. 
 Matsu-go-ro #^ jS. |I5 31. 
 Matsu-kawa j^ )\\ 53. 
 Matsu-shima ^ |I|| 34. 
 Min-wa J^ fu 37, 39. 
 Mitsu-nobu ^ ^ 54. 
 Miya-gawa ^ JH 57. 
 Miya-ta g" 37. 
 Moku-gio 57. 
 Mori ^ 41. 
 Mori-kuni t^ ^ 29. 
 Moro-fusa 0fji ^ xv. 
 
77 
 
 Moro-naga gjg 7JC xv. 
 Moro-nobu % ^ 27. 
 Mura-kami %^ ± 28, 29. 
 
 Nan-gaku ^ -^ 15. 
 Nan-pin ^ |^ 32. 
 Nan-p6 jf ^ 54. 
 Nan-tei ;fi ^* 33. 
 Nichi-ren H jH 1- 
 Nishi-gawa "g Jlj 60. 
 Nishi-mura H i^i 4, 33, 51, 52. 
 Nishi-yama "g" llj 45. 
 Nobu-haru ^ § 
 Nobu-hiro ^ ^ 
 Nobu-shige ^ g 61, 52. 
 No-mura HP W 55. 
 Nori-fusa ^ ^ 53. 
 Numa-ta fg 37. 
 
 O-ishi j^ IS 42, 53. 
 O-jiu % H 16. 
 Oka-da ^ 55. 
 O-kio ]i ^ 33. 
 O-sai If 5^ 66. 
 O-ko U ^ 20. 
 Oku-mura ^ :^f 1, 4, 28. 
 
 Ran-toku-sai M \%^ 60. 
 Ri-kan ^ ^ 42. 
 Rio-kin 1, 2, 3. 
 Ritsu-sai jft; 5^ 69. 
 Ritsu-sen-sai ^^ Jl| ^ 68. 
 Riu-ko-sai ifc ]fi::j ^ 35. 
 Riu-sai ^ ^ 22, 24. 
 Riu-sen jifc ^ 28. 
 Riyo-un ]5^ g 38. 
 Roku-zaye-i-mon •; :fc ^ PI ^7. 
 Roren ^ -^ 39. 
 
 Sada-fusa ^ ^ 17. 
 
 Sada-hide ^ H 18, 24, 52, 58, 63, 
 
 69. 
 Sada-hiro %, ^ 70, 72. 
 Sada-masa ^ i|j; 21. 
 Sada-masu ^ ^ij: 23. 
 Sada-nobu ^ -jg 17. 
 Sada-oka ^ (5^ 52. 
 Sada-shige ^ ;^ 68. 
 Sada-tora ^ j^ 70. 
 Sada-yoshi ^ ^ 24 
 Sada-yuki ^ g 23. 
 Sai-t5 ^ ^ (see Hokusai). 
 Saka-ta \% 39. 
 Sei-cho-ken J^ D3 $f 5. 
 Sei-fuku ^ ^ 55. 
 Sei-zo ^ il 31, 42. 
 Seki-yen J^ i?b 8, 43. 
 Sek-kio g ^ 18. 
 Sen-cho ^ ^ 70. 
 Sen-gwa-do i5t ^ ^ 24. 
 Sen-kwa-do Jllj ^ ^ 4, 
 Sen-sai ;^ % 44, 45, 54. 
 Sess-shiu-sai ^ ^ ^ 30. 
 Set-tan S Ji. 52. 
 Set-tei ^ fj* xxvii. 
 Sha-raku JJI I5^ 6. 
 Shige-haru 1; § 22, 24, 25. 
 Shig6-masa 2 i|fil 5, 13, 31. 
 Shige-naga ;^ :^ 4. 
 Shig^-nobu (Yanagawa) ;|| ^ 70. 
 Shig^-yama g; jlj 37. 
 Shi-midzu ^ 7JC 6, 33. 
 Shimo-kavva-b6 f ^ ^ 62. 
 Shin-hichi-ro ff ^ |5 30, 31. 
 Shi-ro-biyo-ye []]] J|^ ^ ^ 30, 53, 
 
 55. 
 Shiu-ha ft ^£ 4. 
 Shiu-yen J^ 5i 5. 
 Sho-getsu ;^ J 13. 
 Sh5-kwa-d6 % 1^ ^ ^^. 
 Shun-boku § [> 29. 
 
78 
 
 Shun-cho ^ ^ "^j 8. 
 
 Shun-cho-sai ^ =/|§ '^ 23, 51, 52. 
 
 Shun-j5 ^ *^ 7. 
 
 Shun-kei ^ '^ 41. 
 
 Shun-ki ^ Ji^ 70. 
 
 Shun-ki5-sai ^ ^ ^ 25, 53. 
 
 Shun-ko ^ ^ 6, 7. 
 
 Shun-ko-sai ^ ft ^ 24, 25. 
 
 Shun-man (see Toshi-mitsu). 
 
 Shun-po-sha ^ Ji, -g" 70. 
 
 Shun-ro g %f, 8, 62, 65. 
 
 Shun-sei ^ ^ 39. 
 
 Shun-sen ^ ^ 10, 15, 43, 44. 
 
 Shun-shi § ^ 24. 
 
 Shun-sho ^ :^ 7, 8, 24, 30, 31. 
 
 Shun-tei ^ ^ 15. 
 
 Shun-to-sai § fij ^ 57, 65. 
 
 Shun-yei ^ ^ 6, 7. 
 
 Shun-zan ^ [ll 21. 
 
 S5-gaku ^ -^ 44. 
 
 So-nan ^ ^ 34. 
 
 S6-ri ^ H 14. 
 
 So-shi-seki ^ ^ ;5 30. 
 
 Sugi-ta Yk B 34. 
 
 Suk^-nobu |§ ff 28, 60. 
 
 Suzu-ki II Tf; 7, 31. 
 
 Tachibana jf 29, 45, 55. 
 Tada-chika ^ ^ 53. 
 Tai-gaku fj- ^ 39. 
 Tai-gwa-do :^ iSft ^ 
 Take-guchi ft P 34, 53. 
 Tak6-hara fj- ^ 43, 51, 52. 
 Tan fg- 43. 
 
 Tan-g6 ^ f 18, 29, 52. 
 Tan-i ^ ^ 33, 40. 
 Tan-yu ^ gj 30, 33 
 Tam6-kadzu ^ — 14, 15, 35. 
 Tami-kuni ]^ ^ 23. 
 Tei-sai jt ^ 34, 53. 
 Ten-pen-kan 5c ^ ^ 66- 
 
 Teru-yuki (or Yeishi) || ;^ 12. 
 Toki-ta-ro IJt i: gI5 36. 
 Toku-b6-i- ff, :E fj 71. 
 Tomi-kawa ^ ;i| 7, 60. 
 Tome-kichi ^ ^ 36, 37, 54. 
 Tomi-nobu ^ fg 71. 
 Tori-i .% ^ 1, 2, 5 6, 60, 64. 
 Tori-yama ^ \[\ 8, 43. 
 Toshi-kuni ^ij i| 24. 
 Toshi-mitsu (or Shun-man) ^ ^ 
 
 8. 
 To-shiu-sai ^ ^^«j ^ 6. 
 To-un ^ g 27. 
 To-yei % ^ 43. 
 Toyo-fusa ^^ j^ 8, 43. 
 Toyo-haru ^ ^ 9. 
 Toyo-hide ^ ^ 24. 
 Toyo-hiro ^ ^ 13, 16, 42, 62. 
 Toyo-kawa ^ JH 23, 24. 
 Toyo-kiyo ^ ,^ 14. 
 Toyo-kuni ^ ^ 10, 11, 12, 13, 17, 
 
 20, 23, 31, 37, 43, 62, 65. 
 Toyo-masa ^ ijf 6. 
 Toyo-nobu ^ ^ 4, 7. 
 Toy5-shige ^ g; 71. 
 T6-yu m ^ 45^ 
 To-zabu-ro H ji ^f) 39. 
 Tsuki-maro ^ j^ 11. 
 Tsuki-oka ^ fj^ 18, 29, 52. 
 
 Uchi-da ^ B 38. 
 
 Ume-kuni (or Bai-koku) |g ^ 71. 
 
 Um-p5 ^ il^ 38. 
 
 Un-gwa p lli 45. 
 
 Uta-gawa W: /I| 5, 7, 9, 10, 11, 12, 
 
 14, 16, 17, 18, 19, 21, 31, 37, 
 
 42, 62, 64, 65. 
 Uta-maro ^ jg 6, 11, 12, 13, 32, 
 
 42, 62. 
 Uta-yama U^ jlj 71. 
 Uye-mura Jl f^ 43. 
 
79 
 
 Watana-be 
 
 39, 57. 
 
 Yama-guchi ilj 31, 42. 
 Yama-moto jll 7|i 5, 46. 
 Yama-naka \\\ r^ 34. 
 Yana-gawa f;5P I'f ^7. 
 Yanagi-ya f^ ;^ 12. 
 Ya-shima ^ ||| 52. 
 Yasu-bi5-ye-i f;^ :& ^ 39. 
 Yasu-go-ro ^ ^ ^ 43. 
 Yasu-kuni {^ ^ 55. 
 Yasu-nobu ^ f^ 53. 
 Yei-haku ^ fg 30. 
 Yei-sai ^ ^ 24. 
 Yei-sen ^ ^ 20, 23, 37, 41. 
 Yei-shi H ;2: 8, 9, 62, 65. 
 Yei-taku -^ ^|| 44, 45, 54. 
 Yei-zan ^ ll] 12, 14, 16. 
 Ye-kawa ^ j\\. See E-gawa. 
 
 Yen-ki it -1 31, 42. 
 Yo-sai ^ ^ 39. 
 Yoshi-fuji 5^ ]^ 71. 
 Yoshi-haru ^ ^ 71. 
 Yoshi-ki ^ l^ 71. 
 Yoshi-kuni ^ g 24. 
 Yoshi-maru ^ )^ 72. 
 Yoshi-mori ^ ^ 23. 
 Yoshi-nobu ^ fg 5. 
 Yoshi-taki ^ ^|| 
 Yoshi-tora ^ J^ 72. 
 Yoshi-toshi (or Honen) ^ ^ 18. 
 Yoshi-toyo ^ ^ 62. 
 Yo-shiu 1^ IJfl 5. 
 Yoshi-yuki ^ ^ 72. 
 Yu-ko ^ ^ 57. 
 Yu-sai Ifi ^ 34. 
 
 Zen-y6-i-mon # ^ fg P^ 28, 29, 55. 
 
 PRINTED BY STEPHEN AUSTIN AND SONS, HERTFORD. 
 
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