It is interesting to compare such powerful work as this with one of his earliest successes, namely the illustrations to _Les Gaitès Bourgeoises_, a set of _chic_ and delicate little pen-drawings instinct with humour and gaiety. Steinlen is a giant in the artistic poster movement. Some of his productions were lithographs in colour of enormous size, each printed from as many as thirty different lithographic stones. Here and there a poster would give him the opportunity to introduce some of the marvellous drawings of cats for which he is so justly renowned; and in this connection we cannot forbear mentioning two splendid drawings of cocks which appeared in the earlier numbers of _Cocorico_, as well as some wonderfully spirited comic drawings of frogs in a volume entitled “Entrée de Clowns.” Those who keep an eye on the picture galleries of the Paris streets can never forget, so splendid was their design and colouring, Steinlen’s great posters for _La Rue_, or the equally long and fresco-like groups of realistic Parisian types advertising the “Affiches Charles Verneau.” Then, who does not love the “Lait Pur Sterilisé” poster with its golden-haired little girl in scarlet drinking out of a saucer, while three inimitable cats beg at her knee. His poster for Zola’s “Paris” was a poem in itself; and in the “Tournée du Chat Noir” the noble beast concerned is treated to a glory of decoration. Then there are his daring “La Feuille” poster, his “Yvette Guilbert,” and many another, not to mention programme covers and such smaller game. Finally, Steinlen has produced charming etchings, both in colour and in black and white, and such splendid oil paintings as _Les Blanchisseuses_. [Illustration: STEINLEN _Gil Blas Illustré_ EN PROMENADE (_Pen drawing_)] II CARAN D’ACHE Emmanuel Poiré, better known by his Russian pseudonym of Caran d’Ache (pencil), is a public benefactor, in that he has considerably added to the gaiety of nations; and if it be true that one laughs and grows fat, then he must also be responsible for much of the extra weight that those nations carry with them. The man upon whom one may count to make one merry is sure to be popular. Caran d’Ache, as we have already hinted, has made whole nations merry, and he is a popular favourite. It is true that sometimes his own infectious laughter is cynical, or spiteful, or cruel to a minority, but he always has the majority to laugh with him, and follow him in his pictured tirades--be they well-considered or ill-considered. But, after all, that is perhaps a matter of politics, or nationality, or religion, or what not; and the fact remains that his drawings are irresistibly humorous, and are always excellent works of art. Caran d’Ache was born in Moscow, of French parents, but when twenty years of age he came to Paris, where his innate talent soon evinced itself.