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caricaturist. He has too much love of human beauty to caricature the human face and figure, and it is possible that for the same reason he never produces a coarse drawing; however risky the situation he depicts, that which attracts and interests one is the beauty of his drawing, and the technical dexterity of his handling.

It is possible that admiration for the work of Jules Chéret, the master poster-maker, has had something to do with the formation of his style. His work, like that of most of the later illustrators, is done with chalk or charcoal, very little pen-work being produced, The perfection to which the photo-reproduction of drawings now attains has been chiefly responsible for this, together with the praiseworthy attempt of the modern men to vie with the magnificent series of drawings on stone, done half a century ago, by Gavarni, Daumier, De Beaumont, Cham, and other splendid draughtsmen: The revival of their method of treating drawings with a broad point seems for the time to have more than half submerged the exquisite pen-and-ink work, such as was contributed to the illustrated papers some twenty years ago by Lunel, Courboin, Jeanniot, Vogel, José Roy, Vierge, Luigi Loir, Moulignié, Gorguet, Robida, G. Stein, Galice, Myrbach, G. Scott, F. Fau and others, But the situation is saved by the fact that Guillaume, Caran-d'Ache, Job, Morin, and a few other leading illustrators are still faithful to pen and ink. In any case it is certain that of those who