The works of Matabei are excessively rare. He was a fine draughtsman, his figures of dancing girls being particularly graceful in line and of quiet, harmonious colouring.

The next great artist of the school was Hishigawa Moronobu, who flourished during the latter part of the seventeenth century. Formerly a designer of embroideries, the inexhaustible fancy with which he adorns the costumes of his figures adds a special charm to his work, and his drawing of the figure is marked by a wonderful lightness and grace. He was the first artist of importance to devote himself to the production of the woodcut prints which afterwards attained such popularity, and during the next two hundred years became a separate branch of art industry.

During the eighteenth century the school obtained many adherents, whom, for lack of space, we can do no more than name. Torii Kiyonobu, the first of the Torii artists, noted for their treatment of theatrical subjects; Miyagawa Choshun, Nishikawa Sukenobu, Okumura Masanobu, Nishimura Shigenaga, and Suzuki Harunobu are but a few. But as most of these painters of the Ukioyé school were more famous as producers of colour prints we shall leave their further consideration to the next chapter.