Perhaps more than any other artist of the Ukioye School, Toyonobu devoted himself to the drawing of the nude. These rare works are among the finest of his productions, and are so distinctly an exception to the general practice of Japanese artists that they call for special remark. Certain other painters also produced a few such pictures, but they must all be regarded as sporadic phenomena running counter to the characteristic Japanese feeling. The national temper recognizes feminine beauty in art only when clothed; and it is due solely to the profounder perception of a few great artists that any such designs have come down to us. One is moved to speculation over this curious fact, particularly when one considers that the sight of the body, at least among the lower classes, must have been almost as common in Japan at this time as it was in Greece during the great period of Athenian art. But very different was the reaction produced upon the two races by this familiarity. In the Greeks, it encouraged an art whose prime aim was to give expression to those harmonies and hints of perfection that lie hidden in the imperfections of each individual body; so that we have from the Greeks those syntheses and idealizations of the human form which still haunt us like faint memories of the gods. But in the Japanese mind, the sense of the individual defects seems to have overpowered the impulse to creative idealism; and the people, as a race, turned from the nude figure to the more easily manipulated beauties of flowing robes and gorgeous patterns, translating Nature into images of an alien richness, and love into hyperboles of public splendour. That part of Nature which lay outside themselves they could indeed cope with, as the lofty visions of landscape which they have transcribed testify; but with a few exceptions, such as Toyonobu and Kiyomitsu and Kiyonaga, they dared not attempt the final venture of rationalizing the uses and aspects of the body. And it is because of an inadequacy whose source and root spring from this attitude that posterity will perhaps rank this art below the art of Greece, adjudging even the matchless subtlety and refinement of these designs to be no adequate compensation for the absence of that frank Greek courage which attempted to clarify and ennoble the fundamental conditions of the existence of man. Toyonobu, great artist that he was, overstepped the national barrier and came very near to surpassing the finest achievements of Greek art. [Illustration: KIYOMITSU: THE ACTOR SEGAWA KIKUNOJO AS A WOMAN SMOKING. Printed in black and three colours. Size 11½ × 5½. Signed _Torii Kiyomitsu ga_. _Plate 9._] KIYOMITSU. _Pillar Print of a Woman._ A place for giant heads to take their rest Seems her pale breast. Her sweeping robe trails like the cloud and wind Storms leave behind. The ice of the year, and its Aprilian part, Sleep in her heart.