A NASTY ONE 101 ON THE BRAIN: GENERAL BOOTH 102 THE ACCENT ON THE PEG 103 A RECOMMENDATION 103 PICKSOME 103 ON THE BRAIN: AN EX-LORD MAYOR 104 THE WRONG SHOP 105 ON THE BRAIN: MR. G. A. SALA 106 BAKERS' STRIKE 107 GOING THE PACE 107 A POSER FOR GRAN'PA 107 A PRIOR ENGAGEMENT 107 THE NORTH POLE 108 SUGGESTIVE 109 LEG-ISLATION 110 INTELLIGENCE DEPARTMENT 111 THE CONSUMING PASSION 111 THE DOWN TRAIN 111 A DISTINCTION 111 ON THE BRAIN: MR. PUNCH 112 PHIL MAY AND HIS ART "And now, Mr. Whistler, what about Black and White Art?" said an interviewer. "Black and White Art," said Mr. Whistler, "is summed up in two words--Phil May!" Nor is this merely a New School of Art paradox. It is one which is held by artists of all grades alike, and even by the art editor who professes to know and supply what the public likes. That a youth who never had a lesson in drawing in his life should have earned such a reputation between the ages of seventeen and thirty, and should have gone above men as honoured in their profession as Sir John Tenniel and Mr. George du Maurier, and on a level with Charles Keene, Mr. Abbey and Mr. Gibson, is enough to make Mr. May's art extremely interesting. But his art is not nearly so instructive as Mr. May himself; he is a human document to the hand of the realist, and the student of heredity--if ever there was one. He has been interviewed in a sketchy fashion by the journalistic Mrs. Mangnall innumerable times; the high-art magazines have added him to their lists of "Our Graphic Humorists," "Black and White Artists," and "How Caricaturists Draw." The world is familiar with his own grotesque sketches of himself, and, whether he is attired in riding breeches, a straw hat perched on the back of his head, as he drives a coster's cart, or is being flung out of a cab, his long cigar and his hair cut in a bang straight across his forehead, are unchangeable and unmistakeable. The public no doubt thinks that this is only one of Phil May's jokes at his own expense, for the bold Rabelaisian roundness of his humour suggests a man the very reverse of the lean and hungry Cassius. But Phil May's humour does not consist of making fat people thin, thin people fat, exaggerating features, putting big heads upon little legs, and such methods of distortion as we have so often seen resorted to. This we learn from a glance at his home,