the three paintings, though as the existed for male pleasure, the exclusion was almost certainly deliberate. The three paintings are Utamaro's largest known works. They depict extravagantly-dressed women such as courtesans and geisha of the pleasure districts; these women would have been surrounded by men demanding their services in real life, but no men appear in the paintings. On the kimono of the women in each of and appears the —the nine-leafed sasa crest of the Zenno family. It was rare for paintings to be of such a large size. They are on Xuan paper, a type of paper made in China. Edo-period Japan had not developed the skill to make it, and as the Japanese government maintained a policy of isolation with severely restricted foreign trade, Zenno may have obtained the paper for Utamaro in secret. The inks are believed to be of a particularly high quality, from evidence such that when cleaned with water they do not smudge. Executing the paintings would have required a large working space with carefully controlled humidity. These conditions suggests a great expense went into the paintings, and point to an extremely high regard for Utamaro as an artist. (late 18th century)) is also known as or Moonlight Revelry at . The horizontal painting is a hanging scroll in ink on two joined sheets of Xuan paper together measuring . It was made and is believed to be the first of the series. It resides in the collection of the Freer Gallery of Art in Washington, D.C. The scene takes place at an evening party under a full moon in a two-story pleasure house called the , also called the in Shinagawa, near the administrative capital of Edo. It was owned by and was the most prosperous pleasure house in Shinagawa. Utamaro places 16 figures throughout the painting, all of whom are women with the exception of a young boy playing at the mid-left, and the shadow of a man smoking behind a door further behind the boy. The point of view looks out on the sea, and the moon appears over it in the distance to the right. Utamaro uses an elevated point of view traditional to Japanese art while employing European-style geometric perspective principles to give the architecture a sense of depth. Such techniques began to have an influence on Japanese art in the 18th century. Utamaro was yet to develop