The intoxication of the carnival pervades the greater part of this book, whose literary contents consist of a series of chapters on such interesting matters as the “Courrier Français Ball,” “The Ball of the Medical Students,” and the final two Quat’z’arts Balls--at which latter the Paris art students and their models used, until the heavy hand of the law fell upon them, to vie with one another in producing the most artistic and audacious groups of revellers in (and without) fancy dress ever seen. Another chapter is devoted to a “Night Fête at Venice” in the olden time, with its scenes of love and revelry. Yet another, illustrated with silhouettes such as helped to make the success of the Chat Noir Theatre, deals with the influence of that institution on latter-day Art and Poetry. Then follows an article on “Spanish and Eastern dances,” illustrated with gracefully whirling votaries of the terpsichorean art; next comes a chapter on “Modern Sculpture,” decorated with irresistibly comic drawings of models posing in excruciating attitudes to satisfy the modern sculptor’s supposed craving for originality. The amount of ingenuity, facility, and anatomical sureness shown in this little set astounds one. Most of the drawings have evidently been done with a very flexible pen, capable alike of giving a line that with but slight pressure passes from great delicacy to corresponding strength. [Illustration: _By Louis Morin_ ] The _Vie en Rose_ contained many contributions from Morin; occasionally he essayed a drawing executed with the bold thick line then in vogue, but anything approaching brutality in method or subject could not but come amiss to him, and it is in such delightful fancies in this journal as the _Façon de voir la vie en Rose--Le Dessinateur_--that we see him at his best. A draughtsman of elegant appearance, surrounded with bric-a-brac, is here seen in his censer-perfumed studio, reclining on an enormous rose-coloured cushion; his cigarette is in one hand, and the crayon which is limning a female form in the other. Two adoring little models watch and guard him; while a procession of respectful art patrons stream in humbly to offer their thousand-franc notes for the sketches he is tossing off. Other less discreet studio incidents, treated with even more delicacy of colour and draughtsmanship, are contained in the journal. Morin stands alone in his particular style of workmanship: those who have come nearest him are the joyful and boisterous Robida, and the more reserved Henri Pille. From all the above it is easy to gather that Louis Morin is little short of a genius; a charming and wonderful personality, endowed with one of the keenest and most versatile brains of our day. VII CHARLES HUARD