His drawings have been produced in innumerable papers, magazines, and books, and are for ever being re-reproduced abroad. Collections of his caricatures have been published as “L’Album Caran-d’-Ache,” “Bric-a-Brac,” “Le Carnet de Cheques,” “La Comédie du Jour,” “Les Courses dans l’Antiquité,” “Fantaisies,” “Galérie Comique,” “Les Peintres chez-eux,” apart from his illustrations to “C’est à prendre ou à laisser,” “Prince Kozakokoff,” “Malbrough,” &c. More recently “L’Album” published a selection of his works, including some drawings done in a bolder style than that which he generally produces for reproduction,--such are the _Battery of Dreadnoughts_, bold and grim, and the splendid _Charge_. In the drawing of himself there is a good specimen of those caricature portraits for which he is so renowned. His work appeared in the pages of _Tout Paris_, _La Vie Moderne_, _La Revue Illustrée_, and _Le Chat Noir_, &c.; superb military sketches came out in _La Caricature_; and every week he carries on a running fire of pencilled commentary in _Le Journal_, and _Le Figaro_, contributing at the same time to _Le Canard Sauvage_, and _Le Rire_. A special number of the latter paper entitled _Tactique et Stratégie_ consisted of a short series of vigorous military cartoons, representing various epochs, drawn on a large scale, and some of them reproduced in colours. However, it is by his stories without words that Caran d’Ache has attracted most attention, and, it must be confessed, they are simply captivating. Comic stories have been told by the same means in Germany for half a century or more, but Caran d’Ache is credited with having introduced the progressive drawing into France. Caran d’Ache’s little tales need not a syllable of explanation. All is told by the subtlest of alterations in the expressions on the faces of his figures, in the movements of their bodies, or of other animated or inanimate bodies; there is never any mistaking the gist of a Caran d’Ache story. His attention to detail is marvellous, yet everything takes its right place, and the venue is never confused. [Illustration: “THE COMBAT”] Nothing could better than--say--the set of thirty-eight drawings entitled _M. Toutbeau catches the 5.17 a.m. Express_. We trace the dear, fat old fellow through all his agony. He is asleep. He wakes in a perspiration of fright--ten to five--on with them--that accursed tight boot--almost forgot to wash--tie--good gracious, seven to--hallo, there goes a button--_Palsembleu!_--5 o’clock--hair done--now for my coat--I shall never do it! And so on, through all the terrors of hasty packing, ringings for the servant, getting, discussing and paying the hotel bill--umbrella left behind and recovered at the last moment--the dash into a crawling cab--and then Mr. Toutbeau is seen beaming in his first-class railway carriage.