the distorted exaggeration of what is on the face of the matter ridiculous, nor by an elementary simplification, but by a refined sharpening of character. It seems uncanny that a man should have such eyes in his head; there is something almost visionary in the way he picks out of everything the determining feature of its being. And whilst he faintly exaggerates what is characteristic and renders it distinct, his picture is given a force and power of conviction to which no previous caricaturist has attained, with so much discretion at the same time. No one has attained the drollness of Oberländer's people, animals, and plants. He draws _à la_ Max, _à la_ Makart, Rethel, Genelli, or Piloty, hunts in the desert or theatrical representations, Renaissance architecture run mad or the most modern European mashers. He is as much at home in the Cameroons as in Munich, and in transferring the droll scenes of human life to the animal world he is a classic. He sports with hens, herrings, dogs, ducks, ravens, bears, and elephants as Hokusai does with his frogs. Beside such animals all the Reinecke series of Wilhelm Kaulbach look like "drawings from the copybook of little Moritz." And landscapes which in their tender intimacy of feeling seem like anticipations of Cazin sometimes form the background of these creatures. One can scarcely err in supposing that posterity will place certain plates from the work of this quiet, amiable man beside the best which the history of drawing has anywhere to show. [Illustration: DEBUCOURT. THE PROMENADE.] The _Charivari_ takes its place with _Punch_ and _Fliegende Blätter_. In the land of Rabelais also caricature has flourished since the opening of the century, in spite of official masters who reproached her with desecrating the sacred temple of art, and in spite of the gendarmes who put her in gaol. Here, too, it was the draughtsmen who first broke with æsthetic prejudices, and saw the laughing and the weeping dramas of life with an unprejudiced glance. Debucourt and Carle Vernet, the pair who made their appearance immediately after the storms of the Revolution, are alike able and charming artists, who depict the pleasures of the salon in a graceful style; and they rival the great satirists on the other side of the Channel in the incisiveness of their drawing, and frequently even surpass them by the added charm of colour. [Illustration: _Quantin, Paris._ MONNIER. A CHALK DRAWING.] _Carle Vernet_, originally an historical painter, remembered that he had married the daughter of the younger Moreau, and set himself to portray the doings of the _jeunesse dorée_ of the end of the eighteenth century in his _incroyables_ and his _merveilleuses_. Crazy, eccentric, and superstitious, he divided his time afterwards between women and his club-fellows, horses and dogs. He survives in the history of art as the chronicler of sport, hunting, racing, and drawing-room and café scenes.