Torii Kiyotsune produced delicate and distinguished prints in two or three colours, much like those of Kiyomitsu. Most of his figures are characterized by a curious slenderness and exquisiteness; but they are somewhat lacking in vigour. After 1764 he fell under the influence of Harunobu and adopted full-colour printing, still retaining, however, that very individual type of face--a little scornful, a little fastidious in expression--which marks his designs. His work is rare. PUPILS OF KIYOMITSU AND TOYONOBU. Among the pupils of Kiyomitsu may be noted Torii Kiyosato, Torii Kiyoharu, Morotada, Kiyotoshi, Torii Kiyomoto, and Torii Kiyohide. Their work was almost contemporaneous with that of the master. Amano Toyonaga, Ishikawa Toyomasu, and Ishikawa Toyokuma were probably pupils of Toyonobu. IV THE SECOND PERIOD: THE EARLY POLYCHROME MASTERS FROM THE INVENTION OF POLYCHROME PRINTING TO THE RETIREMENT OF SHUNSHO (1764-80) CHAPTER IV THE SECOND PERIOD: THE EARLY POLYCHROME MASTERS FROM THE INVENTION OF POLYCHROME PRINTING TO THE RETIREMENT OF SHUNSHO (1764-80) The transition from primitive to sophisticated art is very like the progression of a race from its heroic youth to its elaborately gifted maturity. Life grows more complex, the material riches and the machinery of living become more diversified; but it is still to the early days that one looks for the strongest development of personality and the most daring achievement in the face of great difficulties. Sophistication, in the history of an art as of a race, brings refinements and nuances unknown to the pioneers; but it cannot intensify and may often encumber the spiritual force and essential genius of the creators. The great individuals of the earlier time developed all that was essential as far as it could be developed; the later enlargement of scope is in the direction of the material and the accidental. In the Primitives we find the full stature of the spirit; in the art of later days, with all its parade of processes, we shall hardly find more. In the First Period the initial impulse of print-designing manifested itself in work that was powerful and beautiful, but of simple technique. In the Second Period the barriers that confined the Primitives were swept away by new possibilities of expression. The three-colour prints gave place to prints in which an unlimited number of blocks could be employed; and this enlargement of the artist's resources produced a new and splendid blossoming. In this Second Period the art seemed to hesitate midway between the forces of the primitive inspiration, which was one of pure and stately decoration, and the more naturalistic forces that were making ready for the Third Period, with its fuller rendering of the lights and spaces of life. The presence of both groups of forces makes this Second Period possibly the most interesting of all.