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As a Preliminary Note to this little book, the following remarks of Mr. Happer prefacing the Catalogue of his Collection of Colour-Prints by Hiroshige, best interpret the authors' intention: "In collecting the Colour-prints of the Ukiyo-ye School, the work of Hiroshige early attracted the interest of the collector. Finding that there was more or less uncertainty regarding his work and that of two of his pupils, who used the same brush name, it was decided to acquire everything obtainable bearing his signature, in the hope that from numerous examples some definite knowledge of the artist might be attained. This purpose, kept steadily in view for years, was attended with unexpected success. By comparing thousands of prints, and by the careful scrutiny of every character and seal on each print, important data were obtained which are given to the collectors of the world for their information with the hope that the works of Hiroshige the Great will receive their proper recognition, his fame be enhanced and that he may be given a lasting place in the School of Ukiyo-ye as the greatest interpreter of Nature in all her moods."

Though timorous of the honour, the writer undertook the task of putting into shape the material Mr. Happer had collected but had not time to arrange for publication. Being permitted to come and go at will in the old Museum of Fine Arts at Boston, she followed in the footsteps of Mr. Okakura Kakuzo, named by the Nivedita Vivekananda as "in some sense the William Morris of Japan," who was arranging and classifying the treasures garnered from the Orient. When the custodians unrolled the masterpieces of Cho Densu of Motonobu and Okyo, the classic painters cast a spell; the walls lined with screens by Koyetsu and Korin were a delight and the flowers of Sotatsu strewed the path of Art.

So the claim for Hiroshige's genius of an inalienable birthright from these master painters, from whom alone says W. von Seidlitz "the exact nature of Japanese taste can be studied," gave rise to our title, The Heritage of Hiroshige; and the endeavour is to give in condensed form the opinions of those who, like Mr. Okakura, are authorities on the early art of Japan. The Biographical information and Forewords were translated for Mr. Happer by Japanese scholars; copious notes and important details were supplied by him, and his Seal Discovery determines once and for all the attribution of the prints bearing the signature of Hiroshige.

"Tokaido" Hiroshige, magical impressionist! seizing as he travelled with his sketch-book, in storm and sunshine, the noted scenes, aspects and humours of the Great Highway; letting his brush play over birds, fishes and flowers, with dragon-fly flashes of iridescence. He "with the simple and restricted means of the Japanese colour-printer," says Mr. Arthur Morrison, "and a direct audacity of technique surprising to analyze, caused the natural aspect of old Japan to live before our eyes forever."

The writer here acknowledges her indebtedness to the authors included in the Bibliography; to Mr. Happer for his illuminating correspondence; to Mr. Elder, and to Irene Carpenter Merriman, who assembled the author's collection and, living in the Orient, by her discrimination and appreciation of Japanese and Chinese art methods, kept her friend in touch with the magic and charm of oriental art.

Dora Amsden.