his symbolist tendencies, could not be classed with any other group, if
it were not that any kind of classification in art is useless and
inaccurate. However that may be, Louis Legrand has signed some volumes
resplendent with the most seductive qualities.

Paul Renouard has devoted himself to newspaper illustration, but with
what surprising prodigality of spirit and knowledge! The readers of the
"Graphic" will know. This masterly virtuoso of the pencil might give
drawing-lessons to many members of the Institute! The feeling for the
life of crowds, psychology of types, spirited and rapid notation,
astonishing ease in overcoming difficulties--these are his undeniable
gifts. And again we must recognise in Renouard the example of Degas and
Manet. His exceptional fecundity only helps to give more authority to
his pencil. Renouard's drawings at the Exhibition of 1900 were, perhaps,
more beautiful than the rest of his work. There was notably a series of
studies made from the first platform of the Eiffel Tower, an
accumulation of wonders of perspectives framing scenes of such animation
and caprice as to take away one's breath.

Finally, Auguste Lepère appears as the Debucourt of our time. As
painter, pastellist and wood-engraver he has produced since 1870, and
has won for himself the first place among French engravers. It would be
difficult to recount the volumes, albums and covers on which the fancy
of his burin has played; but it is particularly in wood-engraving that
he stands without rival. Not only has he produced masterpieces of it,
but he has passionately devoted himself to raising this admirable art,
the glory of the beautiful books of olden days, and to give back to it
the lustre which had been eclipsed by mechanical processes. Lepère has
started some publications for this purpose; he has had pupils of great
merit, and he must be considered the master of the whole generation of