In painting also, the most important progress of the age is the change in subjects of this art, or rather the increase in varieties of subjects to be painted. Before this time what the artists generally liked to paint were the images of Buddha, Buddhist deities, scenes in Buddhist history, and portraits of celebrated priests. Landscapes were put on canvas, too, though not so frequently as those subjects pertaining to Buddhism. Since then portraits, not only of priests, but also of laymen, such as courtiers and generals, have been treated by our painters. Some masterpieces of the new portraiture, by the brush of Takanobu, are extant to this day. This development of portrait-painting may be interpreted as a symptom of the newly-budding individualism on the nation. As to scroll paintings, formerly we had pictures of consecutive scenes in Buddhist history painted in that manner, but scenes from secular history or genre pictures were rare. From this time onward we have scrolls of a character not purely religious, though Buddhist stories are still used as subjects for painting as before. Moreover, in earlier scrolls the best attention was paid to painting Buddha or deities, and not to delineating the auxiliaries, such as landscapes, buildings, worshipping multitudes of various professions, and so forth, while in the new kinds of scrolls more stress was laid on depicting those auxiliaries rather than the pious personages themselves. Battle scenes in the provinces of Mutsu and Dewa, or those between the Taira and the Minamoto in the streets of Kyoto, were also painted on scrolls. Another and quite novel kind extant of the scroll pictures of this age is the satirical delineation of the manners and customs of the time by the brush of the painter-priest Toba-sojo. In the famous scroll certain animals familiar to the daily life, such as foxes, rabbits, frogs, and so forth are depicted allegorically, each suggesting certain notorious personages of various callings in the contemporary society.