JAPAN
confounded with his second son, Koretsune,—an equally great artist,—the confusion being augmented by the fact that among Koretsune's seven art names—Tōgakuski, Ritsumei, Shinryo, Hōgyokusai, Gishinken, Kounken, and Ichiyeian—the first was identical with one of Masatsune's. No less than forty-two experts belonged to the Ishiguro group, and every one of them contributed some good specimens to the treasures of the century. After Masatsune and Koretsune, the most renowned were Koresbige (art name, Ichio), a pupil of Koretsune; Koreo (art name, Hakuunshi), also a pupil of Koretsune; Yoshitsune (art names, Senyusbi, Gammon, and Tominsai), grandson of Masatsune; Masayoshi (art name, Jikosai), a student of Masatsune; Koreyoshi (art names, Jikakushi and Kwansai), son of Masayoshi; Yoshisato (art name, Jitekisai), a pupil of Masayoshi who worked in Hizen; Haruaki, who received the highest art title of Hōgen; Masahiro (art names, Gantōshi, Keiho, Kwakujusai, and Korinsha), a pupil of Masatsune; Masakiyo (art name, Jikiyokusai); Masaharu and Kiyonari (art name, Giyokkosai). All of these, with the one exception noted in its place, worked in Yedo.
With the Ishiguro experts must be bracketed, in point of technical skill, the three families of Omori, Hamano, and Iwamoto. The origin of these has already been spoken of, and it will be sufficient to note here the celebrities that they severally contributed to the nineteenth century, namely:—
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