KIYOSHIGE produced very fine actor-portraits coloured by hand, which remind one distinctly of Kiyonobu I in his later period. Large masses of colour are used by him with powerful decorative effect; and the geometrical designs of his textiles are sometimes striking. Kiyoshige's work has a strong yet graceful quality that makes him worthy of more attention than he has hitherto received. He lived to produce some two-colour prints. Dr. Kurth believes him to have been the first to use the pillar-print form for actor-portraits. His working period was from about 1720 to about 1759. HANEGAWA CHINCHŌ was an eccentric and interesting figure, who, though a pupil of Kiyonobu I, appears to have been more closely related to the Kwaigetsudō School than to the Torii. Born about 1680 he, by birth a Samurai, became a Ronin, and entered the studio of Kiyonobu. He was erratic, proud, and isolated. In spite of his pressing poverty, he worked at print-designing only when it pleased him to do so, which was seldom; and though he lived until 1754, his output was small. He was a poet and an aristocrat. His single-sheet prints have a curious esoteric quality--strange, stiff, beautiful curves that are not quite like the work of any other designer. Chinchō's work is of extraordinary rarity; there can scarcely be more than a score of his prints in existence. HANEKAWA-WAGEN is represented by two prints in the Buckingham Collection. Nothing is known of him. KIYOTOMO, whose work appears to fall entirely within the period of hand-coloured prints, produced excellent actor designs, in some of which the line-work reminds one slightly of Kwaigetsudō. The influence of Kiyomasu appears in some of his _urushi-ye_. His prints are distinguished by their vigour and are found but seldom. SANSEIDO TANAKA MASUNOBU produced hand-coloured and two-colour prints in the Torii manner. A print by him dated 1746 is known, but most of his work precedes 1740. He is not to be confused with the Masunobu who was Harunobu's pupil. KIYOSOMO is said to have been a distinguished pupil of Kiyonobu I, influenced also by Okumura Masanobu. Other men of this period, closely connected with the Torii School, were: Kiyoake, Kondo Sukegoro Kiyoharu, Katsukawa Terushige, Nishikawa Terunobu, Nishikawa Omume, Fujikawa Yoshinobu, Tamura Yoshinobu, Tamura Sadanobu, Kichikawa Katsumasa, Kiyomizu Mazunobu, Shimizu Mitsunobu, Kondo Kiyonobu, Kondo Katsunobu, Kiyorō, Tadaharu, and Nakaji Sadatoshi. [Illustration: OKUMURA MASANOBU: COURTESANS AT TOILET. Black and white. 10 × 15. Unsigned. _Plate 4._] [Illustration: OKUMURA MASANOBU.] OKUMURA MASANOBU. _A Figure._ Garbed in flowing folds of light, Azure, emerald, rose, and white, Watchest thou across the night. Crowned with splendour is thine head; All the princes great and dead Round thy limbs their state have shed-- Calm, immutable to stand, Gracious head and poisèd hand, O'er the years that flow like sand.