His work began with black-and-white prints in the manner of Kiyonobu; these were already something of an anachronism at the date when he commenced his designing. He then turned to _urushi-ye_, and produced some beautiful examples. About 1742, when the two-colour process was invented, he made himself one of the most successful masters of it. Dr. Anderson reproduces, as the frontispiece of his "Japanese Wood-Engraving," a fine example of Shigenaga's work in this technique, but erroneously dates it as 1725--more than fifteen years too early. Shigenaga also did fine work in the three-colour process, of which he may possibly have been the inventor. His designs comprise not only women and actors, but also landscapes, flowers, animals, and birds. His versatility is one of his most striking characteristics. It was from the style of Masanobu that Shigenaga drew his most lasting stimulus; and among his sheets we shall find many a figure worthy to stand beside his master's serene creations. Dr. Kurth calls him a "faded or weakened Masanobu"; but this term can be applied with justice to only a portion of Shigenaga's work. His productions are uneven; part are indeed somewhat tame; but certain of his designs rise to a high level. His finest works, which are rare, are his figures of graceful women in the Masanobu manner. But he was no mere imitator. The Masanobu poise, the Masanobu flow and patterning of garments he did, it is true, adopt; but with how fresh and sensitive a life does he infuse them! Shigenaga's pupils comprise most of the great men of the succeeding generation Toyonobu, Harunobu, Koriusai, Shigemasa, Toyoharu, and many others learned from him the elements of their art. Thus Shigenaga may be regarded as the most important bridge between the Primitives and the later men, passing over to them the traditions of the older schools together with the stimulus of that fresh, inventive, and assimilative spirit which was peculiarly his own. PUPILS OF SHIGENAGA. Among the less important pupils or associates of Shigenaga may be named the following artists:-- TSUNEGAWA SHIGENOBU produced work much like Shigenaga's; in the few prints of his which I have seen there is grace and ease, but not great strength. His work appears to have been mainly in _urushi-ye_. Mr. Gookin believes this name to be merely the early name of Nishimura Shigenobu. YŌSENDŌ YASUNOBU or ANSHIN, by whom a fine lacquer-print with strong blacks is in the Spaulding Collection, may, with some hesitancy, be classed here. Mr. Gookin thinks this signature may be merely one of the studio names of some more famous artist. NAGAHIDE, dated by Strange about 1760, appears to belong to this group. The Harmsworth Collection, London, contains a print by him representing famous theatrical characters depicted by geisha, the colours partly printed and partly applied by hand.