_Andrieux_ and _Morland_ discovered the _femme entretenue_, though afterwards her best known delineator was _Grévin_, an able, original, facile, and piquant draughtsman, whom some--exaggerating beyond a doubt--called the direct successor of Gavarni. Grévin's women are a little monotonous, with their ringleted chignons, their expressionless eyes which try to look big, their perverse little noses, their defiant, pouting lips, and the cheap toilettes which they wear with so much _chic_. But they too have gone to their rest with the grisettes of Monnier and Gavarni, and have left the field to the women of Mars and Forain. In these days Grévin's work seems old-fashioned, since it is no longer modern and not yet historical; nevertheless it marks an epoch, like that of Gavarni. The _bals publics_, the _bals de l'Opéra_, those of the _Jardin Mabille_, the _Closerie des Lilas_, the races, the promenades in the _Bois de Vincennes_, the seaside resorts, all places where the _demi-monde_ pitched its tent in the time of Napoleon III, were also the home of the artist. "How they love in Paris" and "Winter in Paris" were his earliest series. His finest and greatest drawings, the scenes from the Parisian hotels and "The English in Paris," appeared in 1867, the year of the Exhibition. His later series, published as albums--"Les filles d'Ève," "Le monde amusant," "Fantaisies parisiennes," "Paris vicieux," "La Chaîne des Dames"--are a song of songs upon the refinements of life. It does not lie within the plan of this book to follow the history of drawing any further. Our intention was merely to show that painting had to follow the path trodden by Rowlandson and Cruikshank, Erhard and Richter, Daumier and Gavarni, if it was to be art of the nineteenth century, and not to remain for ever dependent on the old masters. Absolute beauty is not good food for art; to be strong it must be nourished on the ideas of the century. When the world had ceased to draw inspiration from the masterpieces of the past merely with the object of depicting by their aid scenes out of long-buried epochs, there was for the first time a prospect that mere discipleship would be overcome, and that a new and original painting would be developed through the fresh and independent study of nature. The passionate craving of the age had to be this: to feel at home on the earth, in this long-neglected world of reality, which hides the unsuspected treasure of vivid works of art. The rising sun is just as beautiful now as on the first day, the streams flow, the meadows grow green, the vibrating passions are at war now as in other times, the immortal heart of nature still beats beneath its rough covering, and its pulsation finds an echo in the heart of man. It was necessary to descend from ideals to existing fact, and the world had to be once more discovered by painters as in the days of the first Renaissance. The question was how by the aid of all the devices of