In the early eighties Morin started drawing for _La Caricature_ and _Le Chat Noir_, and later on for the _Revue Illustrée_, the _Revue des Lettres et des Arts_, _Figaro Illustré_, _St. Nicolas_, _Le Canard Sauvage_, _La Vie en Rose_, &c. Morin was one of the leading spirits of the “Chat Noir” shadow pantomimes, and produced there in 1890 his enchanting “Carnaval de Venise,” in 1892 “Pierrot Pornographe,” in 1894 “Le Roi débarque,” and in 1896 “L’honnête Gendarme.” In 1891 he produced his pantomime “Au Dahomey” at the Musée Grévin. A fair sized room having been acquired as an annexe to the artistic _cabaret_ of the “Chat Noir,” a white sheet was fixed at one end of it over a miniature stage, and surrounded by a quaint and elaborate gold frame. From the wings at the rear were thrown on to the sheet the shadows of marvellous little figures cut out by such artists as Morin, the great Henri Rivière, Caran-d’-Ache, Henri Somm and others, who thereby achieved great fame. All kinds of ingenious little pieces of machinery and clever combinations were invented and employed to build up the great success, which proved attractive enough to draw “all Paris” to Montmartre for some years, and to fill the pockets of proprietor Rudolph Salis, the “King of Montjoie-Montmartre,” so full that towards 1897 he was enabled to purchase and retire to a noble estate in the country. From this estate, however, he was shortly to be recalled by the magnetic attraction of his beloved Montmartre. [Illustration] A glance at the pages of the _Revue des Quat’ Saisons_, which consists of four dainty parts written and illustrated by Morin, serves to give us a very good idea of his later work. Each of the quarterly parts is contained in a paper cover embellished with a different design in colour by the artist-author, which gives one a foretaste of the treat of spices contained within; for within, interspersed amongst the larger plates of a refined colouration, are numberless little masterpieces of pen draughtsmanship, incredibly gay and graceful and supple. Morin herein shows himself a superb draughtsman, his excited little figures career about the pages, their shapely forms palpitating and quivering with the _joie de vivre_. The artist’s quick eye has detected the slightest inflection in the body’s outline, caused by some momentary and wayward impulse, and crystallises the beautiful thing for his own joy and for ours.