The Century illustrated monthly magazine . er, movingin his contracted circle, has an impressivedepth. It comes back to his strange serious-ness. He is a draughtsman by race, and if hehas not extracted the same brilliancy from train-ing, or perhaps even from effort and experi-ment, as some of his successors, Charles Keene,for instance, or the wonderful, intensely modernCaran dAche, does not his richer satiric andsympathetic feeling more than make up thedifference ? However this question may be answered,some of his drawings belong to the class of theunforgetable. It may be a perversity of prej-
The Century illustrated monthly magazine . er, movingin his contracted circle, has an impressivedepth. It comes back to his strange serious-ness. He is a draughtsman by race, and if hehas not extracted the same brilliancy from train-ing, or perhaps even from effort and experi-ment, as some of his successors, Charles Keene,for instance, or the wonderful, intensely modernCaran dAche, does not his richer satiric andsympathetic feeling more than make up thedifference ? However this question may be answered,some of his drawings belong to the class of theunforgetable. It may be a perversity of prej-udice, but even the little cut of the Connois-seurs, the group of gentlemen collected rounda picture and criticizing it in various attitudesof sapience and sufficiency, appears to me tohave the strength which abides. The criminalin the dock, the flat-headed murderer, bend-ing over to speak to his advocate, who turnsa whiskered, professional, anxious head to cau-tion and remind him, tells a large, terrible, DA UMTER, CA RICA Tl ^RIS T. 41;. IN THE COURT OF ASSIZES Story and awakes a recurrent shudder. Wesee the gray court-room, we feel the personalsuspense and the immensity of justice. The Sal-timbanques, reproduced in LArt for 1878,is a page of tragedy, the finest of a cruel Eugene Montrosier says of it that Thedrawing is masterly, incomparably firm, thecomposition superb, the general impressionquite of the first order. It exhibits a pair oflean, hungry mountebanks, a clown and a har-lequin beating the drum and trying a comicattitude, to attract the crowd at a fair, to a poor booth in front of which a painted can-vas, offering to view a simpering fat woman,is suspended. But the crowd does not come,and tlie battered tumblers, with their furrowedcheeks, go through their pranks in the whole thing is symbolic and full of grim-ness, imagination, and pity. It is the sensethat we shall find in him, mixed with his home-her extravagances, an element prolific in indi-c
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