exists in even the most forsaken community, to leaven the predominant ugliness. However, it may be that such forms of rustic beauty do not attract Huard, and we must rest grateful for his view of such types as do interest him deeply.
M. Huard — equally with several others of the illustrators mentioned in this little volume — has been honoured by having an entire number of "L' Album" devoted to his work. Therein we learn that to the few Huard is known as a most able oil and pastel painter of seafaring folk; and the etchings and chalk drawings reproduced convince us that it is a well-earned reputation. The double-page centre drawing of the number consists of a masterly Return from Mass, in which we see the good souls repairing homewards in the moonlight, soothed and contented in mind and in spirit. A few pages further on we come to two piou-pious, or "tommies," enjoying their Plaisir du Dimanche: they are seated, and one of them smokes a cheap cigar. The comment runs, "You wanted to come here so as to show yourself off smoking a cigar; but we could have had much more fun at the station watching the trains go through,"
Le Rire has published a quantity of Huard's work, the strength and vigour of which never seems to fail. The subjects are frequently drawn from the quays of Paris, or from cafés and restaurants patronised by visitors from the provinces to the gay city. The humour of a drawing called Plages, in
