[Illustration: ERHARD. A PEASANT SCENE.] Leech's successor, _George du Maurier_, is less delicate--that is to say, not so entirely and loftily æsthetic. He is less exclusively poetic, but lives more in actual life, and suffers less from the raw breath of reality. At the same time, his drawing is pithier and more incisive; one discerns his French training. In 1857 du Maurier was a pupil of Gleyre, and returned straight to England when Leech's place on _Punch_ became vacant by his death. Since that time du Maurier has been the head of the English school of drawing--of the diarists of that society which is displayed in Hyde Park during the season, and found in London theatres and dining-rooms, and in well-kept English pleasure grounds, at garden parties and tennis meetings, the leaders of clubs and drawing-rooms. His snobs rival those of Thackeray, but he has also a special preference for the fair sex--for charming women and girls who race about the lawn at tennis in large hats and bright dresses, or sit by the fire in fashionable apartments, or hover through a ball-room waltzing in their airy skirts of tulle. The coquettishness of his little ones is entirely charming, and so too is the superior and comical exclusiveness of his æsthetically brought-up children, who will associate with no children not æsthetic. [Illustration: ERHARD. A PEASANT FAMILY.] But the works of _Charles Keene_ are the most English of all. Here the English reveal that complete singularity which distinguishes them from all other mortals. Both as a draughtsman and as a humorist Keene stands with the greatest of the century, on the same level as Daumier and Hokusai. An old bachelor, an original, a provincial living in the vast city, nothing pleased him better than to mix with the humbler class, to mount on the omnibus seat beside the driver, to visit a costermonger, or sit in a dingy suburban tavern. He led a Bohemian life, and was, nevertheless, a highly respectable, economical, and careful man. Trips into the country and little suppers with his friends constituted his greatest pleasures. He was a member of several glee clubs, and when he sat at home played the Scotch bagpipes, to the horror of all his neighbours. During his last years his only company was an old dog, to which he, like poor Tassaert, clung with a touching tenderness. All the less did he care about "the world." Grace and beauty are not to be sought in his drawings. For him "Society" did not exist. As du Maurier is the chronicler of drawing-rooms, Keene was the fine and unsurpassed observer of the people and of humble London life, and he extended towards them a friendly optimism and a brotherly sympathy. An endless succession of the most various, the truest, and the most animated types is contained in his work: mighty guardsmen swagger, cane in hand, burly and solemn; cabmen and omnibus drivers, respectable middle-class citizens, servants, hairdressers, the City police, waiters, muscular