But the distinction lies even deeper. His outlook, keen and marvellously accurate to catch any passing phase, has not the deep seriousness of the older masters. He was a modern of the moderns—materialistic, humorous, somewhat flippant—while they were mystics, striving to pierce through the veil and discover the truths lying beyond. Each represents the spirit of his time, and, though the comparison is interesting and needful, it is due more in justice to the older men than to Hokusai, whose reputation, it is safe to say, will in Europe mount higher and higher, while the qualities of the old classic painters will appeal to but a few kindred spirits.

One other colour printer of the first rank remains—Hiroshigé I., worthy to rank with Harunobu, Utamaro, Toyokuni, and Hokusai. His landscape prints are particularly charming in their delicate renderings of effects of atmosphere and light, and no one could portray better the peaceful effects of quiet evening light.

But the art which culminated in the work of these great men entered now into a period of decline. The latest artists brought nothing that was new; and, charming though much of their work was, it merely repeated, with continually lessening effect, what had been said before.

With the opening of the country to European influence came the final degradation—the introduction of violent aniline dyes to take the place of the old soft Japanese tints.

Since 1880 a slight revival of the art has taken place, but it has, as yet, produced nothing to rival the productions of even fifty years ago.