Okyo rose into notice about 1775, and a number of pupils flocked to his studio in Shijo Street, Kioto (whence Shijo school). Amongst these the most famous were Goshun (1742-1811), who is sometimes regarded as one of the founders of the school; Sosen (1757-1821), an animal painter of remarkable power, but especially celebrated for pictures of monkey life; Shuho, the younger brother of the last, also an animal painter; Rosetsu (1755-1799), the best landscape painter of his school; Keibun, a younger brother of Goshun, and some later followers of scarcely less fame, notably Hoyen, a pupil of Keibun; Tessan, an adopted son of Sosen; Ippo and Yosai (1788-1878), well known for a remarkable set of volumes, the _Zenken kojitsu_, containing a long series of portraits of ancient Japanese celebrities. Ozui and Ojyu, the sons of Okyo, painted in the style of their father, but failed to attain great eminence. Lastly, amongst the associates of the Shijo master was the celebrated Ganku (1798-1837), who developed a special style of his own, and is sometimes regarded as the founder of a distinct school. He was, however, greatly influenced by Okyo's example, and his sons, Gantai, Ganryo, and Gantoku or Renzan, drifted into a manner almost indistinguishable from that of the Shijo school. European School. It remains only to allude to the European school, if school it can be called, founded by Kokan and Denkichi, two contemporaries of Okyo. These artists, at first educated in one of the native schools, obtained from a Hollander in Nagasaki some training in the methods and principles of European painting, and left a few oil paintings in which the laws of light and shade and perspective were correctly observed. They were not, however, of sufficient capacity to render the adopted manner more than a subject of curiosity, except to a few followers who have reached down to the present generation. It is possible that the essays in perspective found in the pictures of Hokusai, Hiroshige, and some of the popular artists of the 19th century, were suggested by Kokan's drawings and writings. Sixth Period.