These are the four artists of great merit who have created the transition between Impressionist painting and illustration. It would be fit to put aside Toulouse-Lautrec, who was much younger, but his work is too directly connected with that of Degas for one to take into account the difference of age. He produced between 1887 and 1900 works which might well have been ante-dated by fifteen years. We shall study in the next chapter his Neo-Impressionist comrades, and we shall now speak of some illustrators more advanced in years than he. The oldest in date is the engraver Henri Guérard, who died three years ago. He had married Eva Gonzalès and was a friend of Manet's, many of whose works have been engraved by him. He was an artist of decided and original talent, who also occupied himself successfully with pyrogravure, and who was happily inspired by the Japanese colour-prints. His etchings deserve a place of honour in the folios of expert collectors; they are strong and broad. As to the engraver Félix Buhot, he was a rather delicate colourist in black and white; his Paris scenes will always be considered charming works. In spite of his Spanish origin, the painter, _aquarelliste_, and draughtsman Daniel Vierge, should be added to the list of the men connected with Impressionism. His illustrations are those of a great artist--admirable in colour, movement and observation; all the great principles of Impressionism are embodied in them. But there are four more illustrators of the first rank: Steinlen, Louis Legrand, Paul Renouard and Auguste Lepère. Steinlen has been enormously productive: he is specially remarkable for his illustrations. Those which he has designed for Aristide Bruant's volume of songs, _Dans la rue_, are masterpieces of their kind. They contain treasures of bitter observation, quaintness and knowledge. The soul of the lower classes is shown in them with intense truth, bitter revolt and comprehensive philosophy. Steinlen has also designed some beautiful posters, pleasing pastels, lithographs of incontestable technical merit, and beautifully eloquent political drawings. It cannot be said that he is an Impressionist in the strict sense of the word; he applied his colour in flat tints, more like an engraver than a painter; but in him too can be felt the stamp of Degas, and he is one of those who best demonstrate that, without Impressionism, they could not have been what they are.