Settling in Montmartre, he rapidly captured the _quartier_ with his marvellous caricatures of the “types” of the neighbourhood, and of the Bohemians of the greater Paris who flocked to its _cabarets artistiques_. Thenceforward his fame has rapidly spread far and wide: of course he was a patron of the _Chat Noir_, and later of the _Quat’z’Arts_, to whose papers he contributed. We have only to examine his drawings to realise that--given the opportunity to publish his work--success was inevitable. Before me is one of his drawings in _Le Rire_--“The effect of Latin and table salt on a youth of Normandy.” It represents a christening scene in the church of a Normandy village. The irreverent babe in granny’s arms is howling the roof off its mouth, while the ancient cleric with port-wine nose, his service interrupted, essays to quiet the little darling; and we can see he is only debarred by professional etiquette from using language unfitting the Church. Grandpa beams good-naturedly at the wickedness of his latest descendant, while the fond mamma joyfully simpers her complete approval of the hopeful’s lung power. A priggish chorister holds a long guttering church candle, which his hot hands are melting in the middle; outside in the porch the bell-ringer with a jug of cider and a glass is pulling his hardest at the joy bells, and a background of fidgeting, yawning children completes the picture. Then look at the gaily-coloured page which transports us to the middle of a village fête. All among the garlands and Japanese lanterns the firemen are making merry with their lady admirers. The drummer of the squad, a lusty fellow, is stealing a kiss from a protesting, yet willing, kitchen-maid. An astounding drawing of a bacchanalian orgy entitled _Ribote de Noël_ appeared in No. 112 of _Le Rire_, and the whole reeling scene of drunken revelry is marvellously rendered. In the largeness of the forms and the rollicking _abandon_ of the whole scene we are reminded of our own Rowlandson, an artist whose work is thoroughly appreciated across the Channel. The quintessence of quaintness is reached in another drawing, which again reminds us somewhat of Rowlandson. It is a drawing contained in _L’Album_, entitled “La Folie des Grandeurs--Les Yeux plus grands que le Ventre”; and shows us a queer little Tom Thumb of a man smoking a cigar, and speaking in the language of the eye volumes of admiration for the mountainous woman against whose knee he lolls. [Illustration: LÉANDRE LES CHANTEURS DE MONTMARTRE (_Tourney Poster for Yvette Guilbert_)]