The equal of Shunyei among Shunsho's other pupils is to be found in Katsukawa Shunko. He was the spiritual image of his master, except that he had not his master's full command of terror. His figures, as in Plate 24, poise or sway with gentler emotions; as a rule, they are agreeable rather than impressive. One comes to recognize him frequently by the peculiar suavity of his designs. It is true that he sometimes approaches very near to Shunsho's power; but this is less characteristic and less interesting than his quieter manner. It is unnecessary to treat of him at great length, for most of his work is of a type whose main qualities have been treated fully under Shunsho. It is not known when Shunko was born; he died in 1827. [Illustration: SHUNKO.] It may be noted that he sometimes sealed his prints instead of signing them, using a jar-shaped seal much like that which Shunsho had made famous. In the Spaulding Collection, Boston, is a remarkable full-size triptych by Shunko, representing a party of actors picnicking in the country. The style shows it to be greatly influenced by Kiyonaga; and the whole composition of this beautiful piece is different from most of Shunsho's work. OTHER FOLLOWERS OF SHUNSHO AND HIS SCHOOL. SHUNRI was another pupil of Shunsho; he appears to have been a competent designer, but no great figure. SHUNTOKU, SHUNKI, SHUNKAKU, SHOYU, SHUNYEN, SHUNKEN, and SHUNKYOKU may be described in the same words. Each has perhaps produced a few beautiful works, but their originality is not marked. RANTOKUSAI SHUNDO, a gifted pupil of Shunsho, has left work so rare that one cannot make any very definite statement about him. His few known prints are admirable. One suspects that this signature is merely the early name of some well-known artist. SHUNSEI, SHUNRIN, SOBAI, and SHUNKIO are later artists; their importance is small. SHUNTEI, "owing partly to illness and partly to systematic indulgence in drink" (Strange), and partly to complete lack of natural distinction, produced nothing of interest; and his coarse battle-scenes may be classed with the crude work characteristic of a later period. He worked chiefly between 1800 and 1820. KINCHO SEKIGA is said to have been a pupil of Buncho. SHUNKO II was a pupil of Shunyei. His name is written in different characters from that of the first Shunko. KICHOSAI SHUNKO also produced actor-prints. YUMISHO was a very rare pupil who adopted Kiyonaga's style in line-work. The same may be said of YENSHI, some of whose work is very beautiful; he appears to have come much under the influence of Yeishi. Several of his triptychs are fine. TOYOHARU.