His pictures of children are just as subtle: there is an elasticity in these little girls with their widely opened velvet eyes, their rosy young lips, and their poses calculated with so much coquetry. Boldini has an indescribable method of seizing a motion of the head, a mien, or a passing flash of the eyes, of arranging the hair, of indicating coquettish lace underclothing beneath bright silk dresses, or of showing the grace and fineness of the slender leg of a girl, encased in a black silk stocking, and dangling in delicate lines from a light grey sofa. There is French _esprit_, something piquant and with a double meaning in his art, which borders on the indecorous and is yet charming. These portraits of ladies, however, form but a small portion of his work. He paints in oils, in water-colour, and pastel, and is equally marvellous in handling the portraits of men, the street picture and the landscape. His portrait of the painter John Lewis Brown, crossing the street with his wife and daughter, looked as though it had been painted in one jet. In his little pictures of horses there is an astonishing animation and nervous energy. M. Faure, the singer, possesses some small _rococo_ pictures from his brush, scenes in the Garden of the Tuileries, which might have come from Fortuny. His pictures from the street life of Paris--the Place Pigalle, the Place Clichy--recall De Nittis, and some illustrations--scenes from the great Paris races--might have been drawn by Caran D'Ache. There is no need to treat illustration in greater detail, because, naturally, it could no longer play the initiative part which fell to it in earlier days, now that the whole of life had been drawn within the compass of pictorial representation. Besides, in an epoch like our own, which is determined to know and see and feel everything, illustration has been so extended that it would be quite impossible even to select the most important work. Entirely apart from the many painters who occasionally illustrated novels or other books, such as Bastien-Lepage, Gervex, Dantan, Détaille, Dagnan-Bouveret, Ribot, Benjamin Constant, Jean Paul Laurens, and others, there are a number of professional draughtsmen in Paris, most of whom are really distinguished artists. In particular, _Chéret_, one of the most original artists of our time--Chéret, the great king of posters, the monarch of a fabulously charming world, in which everything gleams in blue and red and orange, cannot be passed over in a history of painting. The flowers which he carelessly strews on all sides with his spendthrift hand are not destined for preservation in an historical herbarium; his works are transient flashes of spirit, brilliantly shining, ephemera, but a bold and subtle Parisian art is concealed amid this improvisation. Settled for many years in London, Jules Chéret had there already drawn admirable placards, which are now much sought after by collectors.