Though Choki is probably not to be counted as one of the few supremely great artists of the Ukioye School, his fame has been steadily increasing during the last twenty years; and whereas he once held an insignificant place in the esteem of amateurs, he has of late been regarded with an interest and admiration that at times seem almost more than his deserts. Mr. Strange calls him the most graceful of all the figure-designers of his time, and Kurth does not hesitate to deal with him as "mit einem Riesengroszen." I note in Kurth a tendency to exalt an artist because of his proficiency in technical processes, to an extent that I cannot assent to; Choki was superb, but hardly Titanic. It would be difficult to characterize him more justly than in the words of M. Koechlin, "Le plus curieux des petits maîtres." This description certainly does not err on the side of over-enthusiasm; perhaps these are rather lukewarm words to apply to a grace so exquisite, a precision so sharp, and a spiritual appeal so strangely alluring as that of Choki. [Illustration: CHOKI.] Absolutely nothing is known of Yeishōsai Choki's life; it is believed that he was a pupil of Sekiyen, who also taught Utamaro. The Japanese authorities are inexplicably silent about him. Internal evidence, however, tells us that his work lies between the years 1785 and 1805. His earliest designs are strongly after the manner of Kiyonaga, whose feminine types he at first adopted almost literally. These he modified somewhat a little later when he came under the influence of Yeishi, whose slender and delicate figures led him away from the robust ones of Kiyonaga. One of Choki's pillar-prints, illustrated in Plate 45, marks an interesting transition stage. The face and figure seem at first sight almost purely of the Kiyonaga variety, but on closer examination differences appear; and most striking of all is the fact that the colour-scheme is that peculiar combination of yellow, grey, violet, blue, and black which was distinctive of some of Yeishi's finest work. The influence of Sharaku on Choki was at some time very strong, though the precise date is almost impossible to determine. So great was Choki's admiration for this master that later, when he had arrived at his own distinctive manner, he produced a pillar-print of a girl holding a fan on which appears Sharaku's famous design of "The Man with the Pipe." But Choki followed no one else as badly as he did Sharaku; though he appears to have learned things that were of great value to him later, his immediate imitations of the great ironist reduced the superb effects of the latter to the level of caricatures and dissipated the effect of concentrated force which marks his work. Utamaro proved a more congenial influence; and in Choki's earlier prints there are many traces of the grace, though not of the versatility, of that artist. [Illustration: CHOKI: COURTESAN AND ATTENDANT. Size 26 × 4½. Signed _Choki ga_.