a distinct style of his own at this point, and the influence of Torii Kiyonaga on his depiction of the figures is strong. A framed poem by Yomo no Akara (poetic pen name of Ōta Nanpo) hanging from the ceiling in the upper right reads: Kamaya Ihē commissioned the paintings in the late 18th century. was in the collection of the Paris-based Japanese art dealer Tadamasa Hayashi (1853–1906). In 1903 Charles Lang Freer obtained it from Hayashi and later donated it to the Freer Gallery of Art, where it now resides. () is believed to have been the second painting executed in the series. The horizontal painting is a hanging scroll of eight joined sheets of Xuan paper, together measuring , and executed in ink in . Since 1957 it has resided in the collection of the Wadsworth Atheneum in Hartford, Connecticut. The painting shows a cherry blossom–viewing party in the Yoshiwara pleasure district in Edo. 45 figures appear in it. The scene is a teahouse, though one of a more exaggerated grandeur than a real one. A sign of spring, cherry-blossom petals fall all around, and azaleas bloom in the bottom right. The women are of different ranks and status, signified by their manner of dress and hairstyles—the more complex, the higher the rank. In the bottom left is a group of women led by high-ranking courtesans in bright reds and blues. They are identifiable as from having their sashes tied at the front of them. In the centre sits another on a deep red carpet wearing an On the second floor sit a number of women wearing hairstyles and dressed in the manner the women-in-waiting of the households of high-ranking samurai or (feudal lords). They are spectators to a dance performance—what appears to be a , a style of kabuki theatre adapted to performance in private samurai homes. The women to the left play music on the and hand-drums for the dancers. depicts a temporary brothel in Fukagawa with the theme of 'snow'. The horizontal painting is a hanging scroll in coloured pigments on eight joined sheets of Xuan paper, together measuring . The painting resides in the collection of the Okada Museum of Art in the town of Hakone in Japan. Utamaro achieves a strong compositional balance despite the painting's complexity. He distributes 27 figures throughout it amongst several buildings, such as a teahouse duplexes and a