A further difficulty arises in the relation of Harunobu to Koriusai, an artist whom we shall soon treat by himself. At times his work comes so close to Harunobu's style that earlier authorities believed his name to be merely a later signature of Harunobu. This position is now entirely discredited, and it is agreed that Koriusai was a distinct person, a friend and successor of Harunobu. But it is not so sure that Koriusai may not have signed certain of his own designs with Harunobu's name after Harunobu's death; the striking resemblances of some such sheets to Koriusai's work makes one unwilling to regard the relation between the two as settled. In the case of certain unsigned prints, it is impossible to determine with assurance which of the two was the creator. As a rule, however, the colour-schemes of the two are totally different, Koriusai running characteristically to schemes in which blue and orange are dominant. Dr. Kurth seems to think it barely possible that prints signed "Koriu" may be by Harunobu; but this theory is untenable, both because the internal evidence of the prints is against it, several of Koriusai's most characteristic prints being thus signed, and because of the difficulty of believing that Harunobu, the greatest of living Ukioye artists, should at the height of his fame have signed to his work the name of a younger and less noted contemporary. Those prints in the Harunobu manner which are unsigned and unsealed also offer perplexities, since we must look entirely to internal evidence to discover whether they are by Harunobu. Harunobu's work is among the most highly prized in the whole list. The great collections have many of his prints, but in the market one finds the fine ones to be limited in number. In his case, even more than in the case of other artists, perfect condition is a vital requirement. For, in the process of fading, his prints lose that delicate colour-orchestration which is their supreme glory. The same changes in tone that would hardly detract from the beauty of a fine Kiyomitsu might easily rob a fine Harunobu of most of its significance. If one has once seen the copies in such collections as that of Mr. Frederick W. Gookin, of Chicago, Mr. Charles H. Chandler, of Evanston, Messrs. William S. Spaulding and John T. Spaulding, of Boston, or Mr. Howard Mansfield of New York, one loses all interest in the battered riff-raff of the dealers' counters. KORIUSAI. _Koriusai speaks._ Let whoso will take sheets as wide As some great wrestler's mountain-back Space cannot hide His lack. Take thou the panel, being strong. 'Tis as a girl's arm fashioned right-- As slender and divinely long And white. That tall and narrow icy space Gives scope for all the brush beseems. And who shall ask a wider place For dreams?