create a masterpiece on the lithographic stone, print at the most some twenty proofs from it, and then destroy the original, while this same stone could have printed ten times the number of good proofs. For this reason full collections of the lithographs are very difficult to form. Two of the best collections in existence are those of the late Samuel P. Avery of New York and Mr. Charles L. Freer of Detroit.

The whole subject of lithography, as a vehicle for multiplying the autographic design of the creative artist, is now receiving serious attention. In original etching the technical difficulties of the "biting-in" and of printing from the plate are very great; but the lithographic stone faithfully yields back exactly what the artist has drawn upon it.

M. Fantin never achieved a great outside popularity; but neither did that old master in music, Johann Sebastian Bach: yet after the lapse of more than a century Bach still remains the musicians' musician, and similarly, though of course in a lesser degree, few competent authorities will demur if we venture to call Fantin-Latour an artists' artist.

THE ILLUSTRATORS OF "PUNCH”

F the illustrators of Punch should be named in the order of their comparative importance, and not in the order of chronology, such a list would probably read Charles Keene, Phil May, John Leech, and George du Maurier.

Taking them, however, in chronological sequence, we commence with John Leech, who in the year 1841 became the "bright particular star" of Punch, and so remained until his death in 1864. He was born in London in 1817, of Irish parentage, and was a pupil at Charterhouse school along with Thackeray. Leech was educated as a surgeon (as was the great etcher Sir Seymour Haden), but his unconquerable bent towards art in its gayer phases led him, at the age of twenty-four, to join the staff of Punch.

In this connection it is interesting to note that at a later date Sir Seymour Haden published a treatise to demonstrate that every surgeon should be a practical draughtsman, and that the habit of close and accurate observation, so necessary to the surgeon, was in itself almost a training in the art of good drawing.

Leech's designs possess the quality of gaiety in a high degree. Even when he was satirical this expression of genuine fun is generally the dominant

note.

And it must not be forgotten that not one of the famous Punch artists expressed himself through caricature. They all were satirists of a refined and intellectual, but not of an exaggerated type.

Nearly all of their drawings are more or less slight and summary in execution. There is good reason for this — or rather, a sad one: until quite recently every such design which was published as a woodcut was inevitably annihilated by the engraver in the process of engraving it. The artist drew his picture directly on the wood block, and when the wood-engraver had (more or less faithfully) done his work, the precious design of the creative artist had disappeared in the process. All that now remain to us of these men's work are the preliminary studies which the artist sketched on paper - as a guide for his definitive picture drawn on the engraver's block of boxwood. But still, these first studies possess the prime merit of spontaneity, and an artist seldom does better through subsequent elaboration of his picture.

Happily for art, the illustrators of our own time can belie the old proverb; they can now "eat their cake and have it too." Thus, when an artist of the high rank of Mr. Phil May supplies a drawing to Punch he does not sell it, he only sells the use of it, and after such drawing has been photographed for reproduction the original is handed back to the artist intact, as being his own property, which he can dispose of as he pleases

except

MRS. WELLINGTON AND THE MILITARY NURSERY Size of the original drawing, 5 by 6 inches.

By John Leech.

"OPERA SERIA"

The Wigginses were giving their First Garden Party, and Young Frisker, who had just taken the studio next door, had one too,
tremendous "Thud" in the Turf of Wiggins's Lawn.
when suddenly a Ponderous Missile came hurtling through the Air (narrowly missing several of the Guests), and buried itself with a

Tenor Voice (Dolce, from the top of the Wall). "I Beg your Pardon, -But have you seen a Quoit?"!!
Wiggins, Sen. (Solo Bass, of an objurgatory character.) "Have I Seen a Quoit?"!! etc.

And Chorus ff. "Have We, etc., etc.?"!! by the Whole Strength of the Company.

Finale (Agitato).

tration in "Punch.' From the drawing in pen and ink by Charles Keene, size 44 by 7 inches. This drawing was elaborated later, and appeared as an illus