The inexperienced collector may find himself confused, amid so many unfamiliar names, and fail to separate in his mind the notable artists from those of secondary interest. A little study of the following list will perhaps be of assistance. It contains thirty-two names, selected from the three or four hundred mentioned in this book; each one in the list is important, and a collection that contained even one fine example by each of these designers would represent very fairly the whole scope of the art. In fact, the beginner will not go far astray if at the outset he confines his purchases to the work of the men here listed; he will at least be saved from the danger of accumulating the productions of unnoteworthy designers. The names preceded by two stars are the ten outstanding figures whose historical and artistic importance makes it imperative that they be adequately represented in any self-respecting collection. Thirteen more names, preceded by one star, are of next conspicuousness. A collection containing a really brilliant example by each of these thirty-two men would cost from three hundred to three thousand pounds to bring together, depending upon the quality and importance of the prints selected. _List of Principal Artists._ * Buncho * Choki ** Harunobu ** Hiroshige I ** Hokusai * Kiyomasu * Kiyomitsu I ** Kiyonaga * Kiyonobu I * Kiyonobu II ** Koriusai * Kwaigetsudō Masanobu (Kitao) ** Masanobu (Okumura) ** Moronobu ** Sharaku * Shigemasa * Shigenaga * Shuncho Shunko (Katsukawa) Shunman ** Shunsho Shunyei Sukenobu Toshinobu Toyoharu Toyohiro * Toyokuni I * Toyonobu (Ishikawa) ** Utamaro I * Yeishi Collecting is to a certain extent creative; for the picture of the art of Japanese prints that a collection presents is almost as definitely an expression of a personal interpretation as is a book on the subject. What the collectors treasure will be preserved; what they reject will doubtless perish as valueless. One of the collector's joys is the sense that he is laying by immeasurable riches for posterity. Much remains for us still to learn from Japanese prints; and any sheet in a collection may prove to be the key that will some day unlock doors leading to treasure-chambers. Both historically and æsthetically, the field of Japanese prints still offers many undiscovered regions to the explorer. By making available the material for such investigations, the collector performs a valuable service. The collector's own satisfaction is not dependent upon the fact of possession. To seek, to desire ardently, is not to covet; and the most eager collectors are the very ones who most thoroughly enjoy a beautiful print owned by another. Possession is an accident; but enjoyment is a form of genius.