licity of taste severely discriminated them, and his philosophy or conception of art stood magnificently above them, and never allowed them to disturb it under any circumstances. His great personality made him able to sing the song of triumph over his boundless artistic knowledge which had no power to oppress him. You might call his art a work of inspiration if you wish; but I am sure that he hated the word inspiration. It was through the religious exaltation of his mind that he could combine himself with Nature, and he and the subject which he was going to paint were perfectly one when the picture was done. His artist's magic is in his handling of lines. He believed that Japanese painting was fundamentally one of lines. What a charm, what a variety he had with them! See the difference between the lines he used for the pictures of a tiger or a dragon in clouds, the Oriental symbol of power and exaltation, and a bird or other delicate subject. The lines themselves are the pictures. However, that does not mean to undervalue his equal pre-eminence in his art of colour.
Gaho—or Gaho Hashimoto—was born in the fifth year of Tempo (1832) at Kobikicho, in Yedo, now Tokyo. From his seventh year he was taught how to draw and paint; at thirteen he became for the first time a pupil of Shosen Kano. It is said that Gaho was from an artistic family;
