A couple of drawings record with equal force and truth the effect on the public of the cry “Stop Thief.” First we see the excited rabble in full chase; and then the victim (absolutely innocent) being hurried off to the police station by victorious gendarmes, followed by a gesticulating crowd of knowing ones, who declare the prisoner is a murderer who has killed a woman and six children. On another page are two street wrestlers, drawn to the life. One of them is shouting himself hoarse in his endeavours to collect a crowd to witness the marvellous accomplishments of his colleague, a mountain of flesh who is about to lift a stupendous pair of dumb-bells. Yet another coloured drawing in _Le Rire_, called _Le Coup de Main_ is very remarkable in its composition and handling, and like most of Vallotton’s work shows an appreciation of Japanese methods. It depicts a team drawing a huge block of stone which has come to a standstill, while a group of labouring men are all lending a helping hand to get the huge white mass on the move. [Illustration: PORTRAIT OF M. DRUMONT] Among the papers which Vallotton has helped to illustrate may be mentioned _Le Cri de Paris_, _Le Sifflet_, and _Le Canard Sauvage_. The hoardings of Paris have been enlivened from time to time by vigorous posters by Vallotton, a class of work to which his art is eminently adaptable. A most notable example was the bold and telling one he cut on the wood, for the publisher Sagot. But it is Vallotton’s portraits of contemporary celebrities that entitle him most to lasting fame. Some of these have appeared in the French journals, as a magnificent set of powerful woodcuts, done in a large style and on a large scale. A fine example of this work was published in _The Studio_ in 1899, in a portrait of Puvis de Chavannes, which Vallotton drew and cut on the wood specially for that journal. A very subtle and delicately coloured reproduction of Vallotton’s work in colour appeared also in _The Studio_ a few years back; and an excellently rendered landscape woodcut by him appeared in the volume that so fully indicated the claims of modern wood engraving, namely, “L’Image.” VI LOUIS MORIN