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threateningly to her poor, inoffensive little wisp of a husband — "Perhaps that's your style Satyr."

One of his most charming drawings reproduced in colour in "Le Rive" is called "le bon Gite." The hapless Krüger, all war stained, is seated in some peaceful Dutch cottage, where Queen Wilhelmina, as an awe-struck peasant lassie, fills for him the pipe of peace, the while her martial German husband eagerly engages the old man in fighting his battles over again.

Nor can we forget the splendid double-page drawing that appeared in L' Assiette au Beurre for May 23,1901. Here we see a big boy's seminary, representing the French army of the future, the hope of the country, going out for its daily walk in charge of a number of priests — every one of them a monument of craftiness, superstition or bigoted intolerance, thus representing the power that poisoned a great nation's sense of justice during the hateful period of the Dreyfus trials.

Then again in the same paper for June 27, 1901, appears among others one of his most notable drawing, a veritable tour de force, representing the harrowing scene of the identification of corpses after the dynamite explosion at Issy.

It is interesting to compare such powerful work as this with one of his earliest successes, namely the illustrations to Les Gaités Bourgeoises, a set of chic and delicate little pen-drawings instinct with humour and gaiety.