[Illustration: KIYONAGA: GEISHA WITH SERVANT CARRYING LUTE-BOX. Size 27 × 4½. Signed _Kiyonaga ga_. KIYONAGA: WOMAN PAINTING HER EYEBROWS. Size 27 × 6. Signed _Kiyonaga ga_. _Plate 30._] Kiyonaga's greatest works are these triptychs and diptychs in which he depicts the holiday life of his Olympian figures. Even single sheets from them are treasures; for though they combine into still greater compositions, each one, as we may see in Plate 27, or in any one of the sheets of Plate 29, is a perfect unit that can stand alone. His pillar-prints, of which two appear in Plate 30, are ranked among the foremost works in this form. Eventually Kiyonaga's finest manner passed. Though the vigour of his brush-strokes remained, his figures began to take on an exaggerated length and slimness characteristic of the coming decadence. Therefore his retirement from print-designing, a little after 1790, was not, as in the case of Harunobu's untimely death, an irreparable loss. His greatest work was finished. Why he retired is not known; the various speculations on the subject are not very enlightening. Though the finest Kiyonaga prints rarely come into the market nowadays, the less important examples of his work are by no means impossible to obtain. His smaller prints, and his pillar-prints in particular, are among the most attractive acquisitions remaining for the collector. The large single sheets, if fine impressions and in fine condition, are among the foremost of the collector's treasures. The great triptychs are almost unprocurable, except in poor condition. The collector must patiently await his opportunity. There is probably not a single Kiyonaga obtainable anywhere to-day that is of the quality of that unique group of marvellously printed masterpieces which once belonged to Fenollosa, and which is now one of the glories of the Spaulding Collection in Boston. Similarly, the Mansfield Collection in New York and the Buckingham Collection in Chicago contain Kiyonagas which are the result of long years of search and which could not be duplicated in all the markets of the world combined. PUPILS OF KIYONAGA. TORII KIYOMASA was the son of Kiyonaga. His work, produced between 1810 and 1825, is without special distinction. Among the minor pupils may be named Kiyotsugi, Kiyohisa, Kiyokatsu, Kiyotei, Kiyotoki, Kiyoyuki, Kiyohide II, Kiyotsune II. Every artist of the day was influenced by Kiyonaga; among those difficult to classify otherwise may be named the following men:-- SANCHŌ, who worked in the neighbourhood of 1780, produced prints somewhat in the manner of Shuncho. Delicacy rather than strength distinguished him in the few examples of his work I have seen.