At this stage Ukiyo-ye broke into rival schools, the founders of both belonging to the academy of Hishigawa Moronobu. The leader of the first, the school of painting, was Miyagawa Choshun, who in order to preserve aristocratic patronage and praise, eschewed the use of the printing-block, still taking his subjects from the “floating world,” and so being in one sense at unity with the other branch, that of printing founded by Kiyonobu, the first master of the great Torii School. As the Print artists are our subject matter we cannot follow the other branch of Ukiyo-ye, founded by Miyagawa Choshun, but leaving the atelier of the painters, we must devote ourselves to the fortunes of the Torii School, the laboratory of the Ukiyo-ye print, working parallel with the pictorial school for the first half of the eighteenth century. The first sheets of Kiyonobu (about 1710), the founder of the Torii School, were printed in ink from a single block. Part of the edition would be issued in this uncoloured form, the rest being coloured by hand. The colours most used were olive and orange, these prints being called _Tan-ye_, whilst those in ink were named _Sumi-ye_. Urishi-ye (lacquer pictures), was the generic term for hand-painted prints. _Beni-ye_ (literally red pictures), followed the Urishi-ye. They were printed in two tones, rose and pale green, enforced by black, a harmony exquisite in delicacy. The use of the multiple colour blocks gave rise to the title _Nishiki-ye_, or brocade paintings. The national mania for the stage induced Kiyonobu and his followers to take for their subjects popular actors, and the theatrical poster may be said to date from the decade following Genroku. Later in the century the process of colour-printing by the substitution of blocks for flat colours was gradually evolved, and to no special artist or engraver can the credit be given, for all contributed to its development, though the genius of Suzuki Harunobu drew to a focus in 1765 the achievements of his brother artists, and it was he who solved the problem of uniting the skill of the engraver with the full palette of Miyagawa Choshun and his follower Shunsui, thus uniting the two branches of Ukiyo-ye art. The Popular School, however, is bound up with print development. Japanese book illustration and single-sheet printing revolutionized the world’s art. The great connoisseurs of colour tell us that nowhere else is anything like it, so rich and so full, that a print comes to have every quality of a complete painting. The other leaders of the Torii School were Torii Kiyomasu and Okumura Masanobu, namesake of the great founder of Kano, who must not be confounded with the later artist of the same name, belonging to the school of Kitao. Masanobu deserves special mention, for his style being chiefly pictorial, and his subjects not confined to the stage, he formed a link between the painter’s atelier and his own.