lustration of facts,
amusing at the time, but of no value to the print-collector. M. J.L.
Forain, born at Reims in 1852, studied at the Ecole des Beaux Arts
under Jean Leon Gerome and J.B. Carpeaux. He first worked for the
_Courrier Francais_ in 1887, and afterwards for _Figaro_; he was then
drawn into the polemical work of politics. Though he has created some
great types of flunkeydom, the explanatory story is more to him than
the picture, which is often too sketchy, though masterly. Reduced
reproductions of his work have been issued in volumes, a common form
of popularity never attempted with Daumier's fine lithographs. M. A.L.
Willette, born at Chalons-sur-Marne in 1857, a son of Colonel
Willette, the aide-de-camp to Marshal Bazaine, worked for four years
in Alexandre Cabanel's studio, and so gained an artistic training
which alone would have distinguished him from his fellows, even
without the delightful poetical fancy and Watteau-like grace which are
somewhat unexpected amid the ugliness of modern life. His work has
the value, no doubt, of deep and various meaning, but it has also
intrinsic artistic worth. M. Willette is, in fact, the ideal
delineator of the more voluptuous and highly spiced aspects of
contemporary life. "Caran d'Ache," a native of Moscow, born in 1858,
borrowed from the German caricaturists--mainly from W. Busch--his
methods of illustrating "a story without words." He makes fun even of
animals, and is a master of canine physiognomy. His simple and
unerring outline is a method peculiarly his own; now and again his wit
rises to grandiloquence, as in his _Bellona_, rushing on an automobile
through massacre and conflagrations, and in his _Epopee_ (Epic) of
shadows thrown on a sheet. Among his followers may be included A.
Guillaume and Gerbault. M.C.L. Leandre, born at Champsecret (Orne), in
1862, is, like "Andre Gill," a draughtsman of monstrosities; he can
get a perfect likeness of a face while exaggerating some particular
feature, gives his figure a hump-back, as Dantan did in his
statuettes, and has a facial dexterity which sometimes does scant
justice to his very original wit. At the same time he has a true sense
of beauty. M. Theophile A. Steinlen, born at Lausanne in 1859, went to
Paris in 1881. He should be studied in his illustrations to _Bruant_.
He knows the inmost core of the Butte-Montmartre, and depicts it with
realist