His drawing of the female form divine, more or less disclosed in dainty _décolleté_, is well nigh unsurpassed. The excellence of the draughtsmanship, which is so generally attained in the Paris Schools of Art, is very frequently not traceable in work produced later in the artist’s career. This, however, is not the case with Wély; the sureness of drawing required in the schools remains, plus a large quantity of vim and _esprit_. The adjective which best labels his work is charming; and here it may be well to state that the more emancipated any one is the greater the number of Wély’s drawings he is able to admit to his collection, to charm again and again. For Wély is the artist of adventures--the adventures of the bedroom. He is a humorist, and not a caricaturist. He has too much love of human beauty to caricature the human face and figure, and it is possible that for the same reason he never produces a coarse drawing; however risky the situation he depicts, that which attracts and interests one is the beauty of his drawing, and the technical dexterity of his handling. It is possible that admiration for the work of Jules Chéret, the master poster-maker, has had something to do with the formation of his style. His work, like that of most of the later illustrators, is done with chalk or charcoal, very little pen-work being produced. The perfection to which the photo-reproduction of drawings now attains has been chiefly responsible for this, together with the praiseworthy attempt of the modern men to vie with the magnificent series of drawings on stone, done half a century ago, by Gavarni, Daumier, De Beaumont, Cham, and other splendid draughtsmen. The revival of their method of treating drawings with a broad point seems for the time to have more than half submerged the exquisite pen-and-ink work, such as was contributed to the illustrated papers some twenty years ago by Lunel, Courboin, Jeanniot, Vogel, José Roy, Vierge, Luigi Loir, Moulignié, Gorguet, Robida, G. Stein, Galice, Myrbach, G. Scott, F. Fau and others. But the situation is saved by the fact that Guillaume, Caran-d’Ache, Job, Morin, and a few other leading illustrators are still faithful to pen and ink. In any case it is certain that of those who use crayon, charcoal, or lithographic chalk, none produce work which is so subtle and yet so facile and so sure as Wély. He is a light-hearted Steinlen of my lady’s dressing-room; or an emboldened Helleu. The relations between artist and artist’s model frequently attract Wély’s pencil, while other outside subjects seem to tempt him much less frequently. The hard-working, penniless, happy-go-lucky artist _rapins_ he draws are a delightful crew, most excellently put upon paper.