owes much to the draughtsman of the _bourgeois_. Precisely what constitutes his "style," the great line, the simplification, the intelligent abstention from anecdotic trifles, are things which he learnt from Daumier. During the years when he drew for the _Charivari_, _Gavarni_ was the exact opposite of Daumier. In the one was a forceful strength, in the other a refined grace; in the one brusque and savage observation and almost menacing sarcasm, in the other the wayward mood of the butterfly flitting lightly from flower to flower. Daumier might be compared with Rabelais; Gavarni, the _spirituel_ journalist of the _grand monde_ and the _demi-monde_, the draughtsman of elegance and of _roués_ and _lorettes_, might be compared with Molière. Born of poor parentage in Paris in 1801, and in his youth a mechanician, he supported himself from the year 1835 by fashion prints and costume drawings. He undertook the conduct of a fashion journal, _Les Gens du Monde_, and began it with a series of drawings from the life of the _jeunesse dorée_: _les Lorettes_, _les Actrices_, _les Fashionables_, _les Artistes_, _les Étudiants de Paris_, _les Bals masqués_, _les Souvenirs du Carnaval_, _la Vie des Jeunes Hommes_. A new world was here revealed with bold traits. The women of Daumier are good, fat mothers, always busy, quick-witted, and of an enviable constitution; women who are careful in the management of their household, and who go to market and take their husband's place at his office when necessary. In Gavarni the women are piquant and given to pouting, draped in silk and enveloped in soft velvet mantles. They are fond of dining in the _cabinet particulier_, and of scratching the name of their lover, for the time being, upon crystal mirrors. [Illustration: _L'Art._ DAUMIER. IN THE ASSIZE COURT.] [Illustration: _Quantin, Paris._ DAUMIER. "LA VOILÀ ... MA MAISON DE CAMPAGNE."]