and many another drawing. Towards 1896 the range of his subjects noticeably widened.
Among other publications to which he has contributed one recalls Le Chambard, in which appeared splendid lithographs from his own hand, La Feuille, L' Assiette au Beurre, La Vie en Rose, Le Canard Sauvage, etc. In the following music albums will be found some further superb lithographs by Steinlen, namely, Chanson de Montmartre, Chansons du Quartier Latin, and Chanson de Femmes. Among the books he has illustrated are: Les Gaités Bourgeois, Prison fin de Siècle, Dans la Rue, and Dans la Vie — the latter in colour.
Description of a few of his notable drawings, culled here and there, may help us to a better understanding of their quality.
First, then, he shows us the gallery of some dark, putrid Assembly Hall; the air is thick with garlic, and oaths, and gas, whose garish light illuminates a disreputable mob of frenzied anarchists, who are applauding with delirious gusto the sentiments of "Down with everything," "Death to every one."
Next we are taken to some dull, superstitious Breton hamlet; a blind and crippled tramp has arrived, hobbling through on crutches. We feel that his infirmities have hardly saved him from a career of violence. We can almost hear his raucous appeal for alms, as it falls on the ears of a group of simple village children, pitying, yet more than half-
