I have left myself little time to speak of two eminent artists, both of them world-renowned, who by their genius made the latter years of the Ukiyoé school as notable in their way as any in its entire history. Either Hokusai or Hiroshige might well engage our attention for an entire evening. Both were extraordinarily prolific; Hokusai was the more versatile and has the wider reputation. Both are among the greatest landscape artists the world has ever known. Their numerous prints of landscapes are a revelation of the possibilities of originality in composition and variety of interest in this field. Unless one has studied these prints in fine examples, it is impossible to realize how great is their merit. This is true of all the prints, but particularly true of Hiroshige’s. Between the best impressions and the very good ones the difference is really astonishing. But the best are so extremely rare as to make it probable that because of the difficulty and the cost of printing, very few of them were issued—the publishers finding cheaper editions more profitable. Though classed as Ukiyoé artists, Hokusai and Hiroshige really represent a separate movement which undoubtedly would have crystallized into a distinct school had worthy followers arisen to carry it forward, had the times been different, and, last but not least, had the genius of the two masters been less transcendent. In this sketch of the history of the art of Ukiyoé colour-printing only the more salient features have been touched upon. Of the prints themselves it is not too much to say that the finest of them are the most beautiful specimens of printing that have been done in any land at any time.