Kiyomitsu's work is markedly stylistic--even dominated by a certain mannerism; one comes to recognize almost infallibly the formula he uses, and to regard as an old friend that peculiar swirl of drapery, swing of body, and artificial poise of head which appear, as in Plate 9, like an accepted convention throughout the larger number of his designs. The convention is an agreeable and highly æsthetic one, based on fundamental curves of great beauty. But the invariability with which he employs this formula gives Dr. Kurth some excuse for regarding him as a monotonous and over-estimated artist. Had we only Kiyomitsu's _hoso-ye_ prints, it might be possible to agree with Dr. Kurth; for these figures, enchanting and full of elegance as they are, certainly are dominated by a sameness of manner such as one finds in no other series of _hoso-ye_. But the truth of Dr. Kurth's depreciations must be questioned if one turns to the pillar-prints, which constitute the real glory of Kiyomitsu's career. The two reproduced in Plate 10 exhibit his power. Kiyomitsu may be regarded as one of the half-dozen greatest masters of the pillar-print shape of composition. Much of his finest work is in this form. Here his somewhat tight curves lengthen out into flowing beauty; and the dignity always inherent in his drawing appears at its best. [Illustration: KIYOMITSU: WOMAN WITH BASKET HAT. Black and three colours. Size 28 × 4. Signed _Torii Kiyomitsu ga_. KIYOMITSU: WOMAN COMING FROM BATH. Black and three colours. Size 27 × 4. Signed _Torii Kiyomitsu ga_. _Plate 10._] Kiyomitsu's rare nudes take a place close beside those of Toyonobu. They have a keen poetic charm; and though their vigour is less marked than that of Toyonobu's, their grace and elegance of movement is at least as striking. The collector may find it useful to remember that long after Kiyomitsu's death, Kiyomine and Kiyofusa sometimes used the great name of Kiyomitsu as a signature to their own works. Only an inexperienced observer could mistake these late and decadent productions for the work of the original master. KIYOHIRO. Torii Kiyohiro has been rated by some writers as more highly gifted than Kiyomitsu. This praise appears absurdly extravagant; yet in disputing such a claim, one must admit the great charm of Kiyohiro's work. He is said to have been a pupil of Kiyonobu II; his career runs parallel with that of Kiyomitsu, and he seems frequently to imitate that artist. The period of his greatest prominence was between 1745 and 1758; his work is all in two or three colours. A delicate draughtsman, his figures have marked grace of poise and firmness of design. His mannerism is less stereotyped than Kiyomitsu's; some of his prints have great beauty, but he never reaches certain heights which Kiyomitsu attained. Prints by him are uncommon. [Illustration: TORII KIYOHIRO.] KIYOTSUNE.