A more prolific artist than the first Torii, Kiyomasu was in some particulars an equally distinguished one. Possibly his originality was less marked in that he merely followed the actor type which had already been created by Kiyonobu; but in the power of his draughtsmanship, reminding one again and again of a tempered Kwaigetsudō, he is no secondary figure. Nothing can surpass the vigour of linework in some of his large figure prints--great curves made with a heavily charged brush, expressing with notable simplicity the beauty of flowing drapery. His masterpiece is undoubtedly that superb figure in black and white of the actor Kanto Koroku (in the Buckingham Collection, Chicago), drawn in the Moronobu-Kwaigetsudō manner, which is reproduced in Fenollosa's "Epochs of Chinese and Japanese Art" with the erroneous attribution of Kiyonobu. This print is a triumph. Nothing finer was designed by all the succeeding generations of artists. THE SECOND KIYONOBU. Kiyonobu II, who signed all his work simply Kiyonobu, was a son of Kiyomasu, and probably a nephew of Kiyonobu I. His whole name was Torii Kiyonobu Shirō. He appears to have worked chiefly from about 1740 to about 1756, the period of the predominance of the two-colour print. All two-colour prints signed Kiyonobu are by this artist and not by the first Torii, who died before the process was invented. Kiyonobu II is regarded by many collectors as the best representative of the two-colour technique. His figures have a delicacy and grace that is alien to the work of his two predecessors in the Torii School; and his handling of the green and rose designs of these prints is charming. The great insistent colour masses and monumental figures of his predecessors undergo a change in his hands to a more detailed division of colours and a slightening of the forms of the bodies and limbs. Also the old passionate vigour of brushwork disappears in the new technique--a loss that seems a grave one. Most writers speak of Kiyonobu II as a two-colour artist only. It is, however, fairly established that at least one of the _urushi-ye_ signed Kiyonobu is by Kiyonobu II. That he did a few three-colour prints is certain. His work, like that of all these early men, is rare. It is particularly difficult to find examples of his _beni-ye_ that are in good condition, since the rose-colour has in most cases entirely faded. OTHER FOLLOWERS OF KIYONOBU. KIYOTADA was one of the best known and one of the most brilliant of the numerous followers of the great Torii pioneers. He is said to have been a pupil of Kiyonobu I. His period of production began not far from 1715, and ended before the invention of two-colour printing. His prints are all _tan-ye_ or _urushi-ye_, some of them slightly like Okumura Masanobu in style. Certain of his _hoso-ye_ have fascinating curves and superb colour--red, yellow, green, pink, and black, woven together into rich combinations.