This period has gotten less consideration from history specialists, yet appears to have been portrayed by a decrease in the creation of workmanship. Yet again compositions from this period are firmly obliged to works executed during the second Gondarine style as far as subjects and structures, yet the range utilized by specialists advances toward brilliant, plain tones.
In addition, while supporters had infrequently been portrayed from the Zagwe time frame onwards in a romanticized way, by the turn of the 20th century they are depicted all the more everything being equal, as should be visible to the painting of Emperor Menelik II (above) in the congregation of Entoto Raguel. After the Second World War, customarily prepared Ethiopian painters, like Qes Adamu Tesfaw, kept on working close by craftsmen impacted by innovation. The utilization of imported engineered colors turned out to be progressively normal and by the 1960s symbols and original copies were made, generally, for the traveler market.