"Woman," says Von Seidlitz, "had always played a prominent part in the popular art of the country, but now Utamaro placed one type of the sex in the absolute centre of all attention--the type, namely, of the courtesan initiated into all the refinements of mental culture as well as of bodily enchantment, and then playing in the life of Japan such a part as she must have played in Hellas during the golden age of Greek civilization. For expressing the inexpressible, the simple rendering of nature did not suffice; the figures must needs be lengthened to give the impression of supernatural beings; they must have a pliancy enabling them to express vividly the tenderest as well as the most intense emotions of the soul; lastly, they must be endowed with a wholly peculiar and therefore affected language for uttering the wholly peculiar sensations that filled them.... It is true that soon after he yielded to the general tendency of his age ... and gradually insisted on these attributes to exaggeration, even to impossibility, while his fame of having been the first to give such morbid inclinations completely satisfactory and therefore unsurpassable expression is a title of somewhat doubtful value, even if in any case a high historical significance cannot be denied it. Nevertheless, we must not forget that within this domain of the hyper-æsthetic Utamaro was the creator of a most original and individual style. Nay, if we could only admit the morbid and exaggerated to be as fit subject-matter for art as the healthy and sane, we must grant that this style is one of altogether enchanting originality, and that, however dangerous might be its immediate influence upon the spectator, and particularly upon possible successors, it does none the less lift us beyond the cramping limits of reality, and is therefore not wanting in idealism of a kind." But weary as seems the spiritual content of these end-of-the-century designs of Utamaro's, there is no lack of brilliant vigour in their composition. The great triptychs--such as the "Night Festival on the Banks of the Sumida River," or the "Firefly Catchers," or the "Persimmon Pickers"--stand among the finest prints we know. In colour, rhythm of line, and dramatic quality of composition they are triumphs. There is a startling beauty in even those extraordinary bust-portraits in which the enormous coiffure, minute neck, slips of eyes, and dot of a mouth, carry exaggeration to a bizarre and delirious extreme. Not long after 1800 the pressure of work brought upon him by his great popularity, together with the effects of a none too well spent life in the Yoshiwara, combined to strain his powers unduly. His work no longer kept its earlier freshness; his exaggerations became coarser; his invention grew less fertile. He began to rely on the assistance of his pupils, as we know from his "Book of the Green Houses" (1804), in which several collaborated with him. Doubtless many an Utamaro print of this time is their work.