CARAN D'ACHE
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tions in the expressions on the faces of his figures, in the movements of their bodies, or of other animated or inanimate bodies; there is never any mistaking the gist of a Caran d'Ache story. His attention
"THE COMBAT"
to detail is marvellous, yet everything takes its right place, and the venue is never confused.
Nothing could better than — say — the set of thirty-eight drawings entitled "M. Toutbeau catches the 5.17 a.m. Express." We trace the dear, fat old fellow through all his agony. He is asleep. He wakes in a perspiration of fright — ten to five — on with them — that accursed tight boot — almost forgot to wash — tie — good gracious, seven to — hallo, there
