For reasons unknown to us, Choki late in his activity changed his signature to Shiko and produced under this name a small number of prints regarding the quality of which opinions differ. They are all in the manner of Utamaro's later style, and so little resemble the work signed "Choki" that one has to use a distinct effort to restrain one's incredulity, in the face of pretty clear evidence that the two names were used by a single artist. Easily first among these prints are a few splendid pillar-prints; one of these, the two singers with the black box, illustrated in Plate 46, seems to me almost the finest pillar-print post-dating 1795 that I have ever seen. Of this form Choki was a consummate master. But M. Koechlin regards these Shiko prints as mere imitations of Utamaro's period of decadence, and rejoices in the fact that they are so rare. Mr. Arthur Morrison, on the other hand, who points out correctly that Shiko is Choki's late, not his early name (a matter on which most writers have inexplicably gone astray) feels that the Shiko sheets are, in the best instances, of more elegance and distinction than anything produced under the Choki signature. I should hardly like to agree with either view, but am content to put the Shiko pillar-prints and the Choki silver-prints side by side, and regard them as the supreme examples of the double talent of this puzzling genius. [Illustration: SHIKO.] All of Choki's work is of great rarity; that signed Shiko is possibly even rarer than that signed Choki. Rarest and most highly treasured of all are his silver-prints; the ordinary collector will probably never have an opportunity to obtain one. NAGAHIDE II and ICHIRAKUSAI NAGAMATSU (CHŌSHŌ) may be mentioned as followers of Choki. The fact that we do not know of more disciples of so brilliant a designer is another one of the inexplicable things that surround him. TOYOKUNI. _The Pupil of Toyokuni._ I walk the crowded Yedo streets, And everywhere one question greets My passing, as the strollers say-- "How goes the Master's work to-day? We saw him sketching hard last night At Ryogoku, where the bright Trails of the rockets lit the air. You should have seen the ladies there! All the most famous of the town In gorgeous robes walked up and down The long bridge-span, well-knowing he Was there to draw them gorgeously. I'm sure he'll give us something fine-- Dark splendid figures, lights ashine, A great procession of our best And costliest Oiran, with the West Burning behind them. When it's done, Pray, of the copies, save me one."