y, Bernhard Pankok and Julius Diez, who based their
style on old German wood-engraving; Fidus, who lavished the utmost
beauty of line in unshaded pen-and-ink work; Rudolf Wilke, whose
grotesques have much in common with Forain's clever drawings; Angelo
Jank and R.M. Eichler, who work with a delightful _bonhomie_. Among
the draughtsmen on the _Narrenschiff_ (The Ship of Fools), Hans
Baluschek is worthy of mention as having made the types of Berlin life
all his own; and while this paper gives us for the most part
inoffensive satire on society, _Simplicissimus_, first printed at
Munich and then at Zurich, under the editorship of Albert Langen,
shows a marked Socialist and indeed Anarchist tendency, subjecting to
ridicule and mockery everything that has hitherto been held as
unassailable by such weapons; it reminds us of the scathing satire of
Honore Daumier in _La Caricature_ at the time of Louis Philippe.
Thomas Theodor Heine (1867) is unsurpassed in this style for his power
of expression and variety of technique. We must admire his delicate
draughtsmanship, or again, his drawing of the figure with the heavy
line of heraldic ornament, and his broad and monumental grasp of the
grotesque. His laughter is often insolent, but he is more often the
preacher, scourge in hand, who ruthlessly unveils all the dark side of
life. Next to him come Paul, an incomparable limner of student life
and the manners and customs of the Bavarian populace; E. Thony, a
wonderfully clever caricaturist of the airs and assumption of the
Prussian _Junker_ and the Prussian subaltern; J.C. Eugh and F. von
Regnieck, who make fun of the townsman and political spouter in biting
and searching satire. The standard of caricature is at the present
time a high one in Germany; indeed, the modern adoption of the
pen-line, which has arisen since the impressionists in oil-painting
repudiated line, had its origin in the influence of caricature.

_United States._--The proverbial irreverence of the American mind even
towards its most cherished personages and ideals has made it
particularly responsive to the appeal of caricature. At first an
importation, it developed but slowly; then it burst into luxuriant
growth, sometimes exceeding the limits of wise and careful
cultivation. In the early period of American caricature, almost the
only native is F.O.C. Darley (1822-1888), an illustrator of some
im