He is a splendid draughtsman, unerring and direct, a seeker and finder of individual character, who does not attempt to electrify the world with his audacity, or his at-any-cost originality; for he is content to delineate for us, in masterly fashion, specimens of humanity as they appear to the man of keen discernment. At the time of the loathsome trials of Dreyfus, Malteste was one of several artists who specially distinguished themselves by splendid sketches of the actors concerned therein. In the writer’s possession is a collection of these spirited and life-like drawings. They are doubly admirable when one considers under what disadvantages they were produced. The task of the artist, told off to a sweltering, over-crowded court-house, surcharged with violent excitement, and commissioned to make portrait groups of interested persons, who are incessantly changing their positions, is none too easy. Yet these drawings show no hesitation; in each case some fleeting gesture or attitude is caught in a vigorous drawing, and fixed for ever. No wonder then that publishers such as Hachette, and the weekly illustrated papers _Le Monde Illustré_, _L’Illustration_, &c., should have availed themselves of his talent; or that when he turned his crayon to more fanciful subjects he should have found a ready outlet in the pages of such papers as _La Vie en Rose_, _Le Rire_, _L’Assiette au Beurre_, and many others, wherein to let fly that _gauloiserie_ which flows in the veins of even the most serious Frenchman. Most of the drawings in _La Vie en Rose_ are excellent works in chalk of actions governed by sudden impulse; and, in technique, strongly recall the admirable drawings of the English draughtsman, Gunning King, whose work Malteste has probably never seen. It is most likely, however, that the style of both artists has largely resulted from profound and well-placed admiration of the work of the veteran Renouard. There is in _La Vie en Rose_ an amusing series of drawings by Malteste of coachmen of all grades--each a strong piece of work, full of character, and well placed on the page. Another series in colour consists of fancy portraits of potentates; here again Malteste has distinguished himself, as witness the _Léopold, Roi des Belges_, a harmony in white, yellow, and brown. Malteste shows himself as a tender colourist in the excellent drawing of a milking scene, entitled _La Traité des Blanches_; another farm scene, _Le Fléau_, is as excellent an example of black and white work, and only surpassed by the chalk drawing _Psychologue_, a superb delineation of two ragged, storm-beaten rag pickers toiling homewards with their baskets.