and birds as well. They
always study nature, and I believe that is the keynote of their art.

The technique of Kiyosai's work was most fascinating. I had come away
from England with all sorts of theories concerning the technical part of
an artist's work, and when I got to Japan I found there was absolutely
nothing that was not known to this man. His method of work, too,
interested me exceedingly. To begin with, the assistant brought his
stretcher of silk--a lovely piece of silk stretched across a wooden
frame--and placed it in front of him. Then, taking a long burnt twig, he
thought for a few minutes, looking all the while at his silk--thought
out his picture, indeed, before he put a single touch on his canvas. How
different is this from the man who so often, with us, puts on a lot of
hasty touches in the hope that they will suggest the picture! When this
artist saw his picture complete in his mind, he began with the little
burnt twig to trace a few sure lines. I never saw such facility in my
life. A few swift strokes indicated the outline on the silk of two black
crows; then he took up his brush and began at once with the Indian ink,
with full powerful colour; and in about seven minutes he had completed a
picture, superbly drawn and full of character--a complete impression of
two black crows, very nearly life-size, resting on the branch of a tree.

Kiyosai never amid any circumstances repeats himself: every picture he
paints is different, while for his work he asks but a small price. After
he had done his crows he painted a coloured picture, beginning with
Indian ink. First he tried all his colours, which were ready prepared
in different little blue pots and placed around him. These little
shallow pots or saucers had each its own liquid, which the assistant had
prepared to a certain extent beforehand. They contained flesh tint,
drapery colour, tones for hair, gold ornaments, and so forth. These
colours had evidently been used before, as they were in their saucers,
merely requiring dilution before immediate use. The saucers were
arranged chiefly on his right, with a great vessel of water, of which he
used a great deal. All his utensils were scrupulously clean. When he
began there was no fishing for tones as on the average palette. No
accident! All was sure--a scientific certainty from beginning to the
end. The picture was the portrait of a woman. It displayed enormous
facility and great knowledge, and his treatment of