Whatever the subject treated, however, one is struck by the keen observation these drawings display, the requisite movement or attitude being perfectly rendered with the minimum number of lines. They are snap-shots of propitious moments; but taken by an artist’s eye in place of a photographic lens, and an artist’s science to display what is necessary and to discard what is unnecessary for the illustration of the point at issue. The drawings here and there reflect the touch of melancholy in the author’s nature, as well as his caustic wit. A charming and sympathetic drawing is that of the working man playing with his crooning babe, while the mother, who is getting supper ready, says to her husband “Ah! wouldn’t you be stunning, if you’d only give up drinking.” In another drawing a poor woman says to her drunken husband “Aren’t you ashamed to be in this state on a Tuesday?” How telling too the sketch of the rascally picture dealer who bursts in on the famishing artist and his starving wife and baby, and says--“I must have three Corots and a Diaz within six days--Madame, make him work!” Then there is another delightful artist subject. The landlord breaks in on poor hard-working Pinceau. “Sir, you’ve made me call twenty times--you owe me seven quarters’ rent, I tell you I’ve had enough of it!” “Gracious--is that all you’ve got to think about then,” is the cool reply. How beautiful in its simplicity and how exquisitely the curt legend “---- Rothschild,” fits that drawing of the little ballet dancer who whispers the portentous name into the ear of her sister _coryphée_, the while the moneyed man behind the scenes passes them. Once more, look at the husband stupefied at the bill which accompanies the host of packages in the midst of which he and his wife are standing. “What, what! two thousand seven hundred and fifty-three francs, forty five centimes! and all that so as to go away to the seaside for three weeks!”--“Well, yes, you are right, my dear, I will send back one of the umbrellas!” These drawings are almost all executed with a thin, pin-point pen line, of even thickness throughout, and with flat tones of shading added by means of mechanically engraved dots. Forain, Vogel, and Willette, although their methods differ, are among the few who now illustrate with such faint lines and aim at such fragile effects. A collection in book form of his political and topical illustrations, which had appeared in _Le Figaro_ were republished under the title “Doux Pays.” The number of _L’Album_ devoted to Forain contains able sketches, done in wash and chalk, which are stronger in effect, although incomplete looking; and bear the impress of having been dashed off at great speed while the inspiration lasted. A very subtle drawing of the nude, entitled, _The Tub_, however, is included in the number, as well as some strongly indicated work in colour.