The same may be said of Louis Legrand, a pupil of Félicien Rops, an admirably skilful etcher, a draughtsman of keen vision, and a painter of curious character, who has in many ways forestalled the artists of to-day. Louis Legrand also shows to what extent the example of Manet and Degas has revolutionised the art of illustration, in freeing the painters from obsolete laws, and guiding them towards truth and frank psychological study. Legrand is full of them, without resembling them. We must not forget that, besides the technical innovation (division of tones, study of complementary colours), Impressionism has brought us novelty of composition, realism of character and great liberty in the choice of subjects. From this point of view Rops himself, in spite of his symbolist tendencies, could not be classed with any other group, if it were not that any kind of classification in art is useless and inaccurate. However that may be, Louis Legrand has signed some volumes resplendent with the most seductive qualities. Paul Renouard has devoted himself to newspaper illustration, but with what surprising prodigality of spirit and knowledge! The readers of the "Graphic" will know. This masterly virtuoso of the pencil might give drawing-lessons to many members of the Institute! The feeling for the life of crowds, psychology of types, spirited and rapid notation, astonishing ease in overcoming difficulties--these are his undeniable gifts. And again we must recognise in Renouard the example of Degas and Manet. His exceptional fecundity only helps to give more authority to his pencil. Renouard's drawings at the Exhibition of 1900 were, perhaps, more beautiful than the rest of his work. There was notably a series of studies made from the first platform of the Eiffel Tower, an accumulation of wonders of perspectives framing scenes of such animation and caprice as to take away one's breath.