and we shall now speak of some illustrators more advanced in years than he.  The oldest in date is the engraver Henri Guerard, who died three years ago.  He had married Eva Gonzales and was a friend of Manet’s, many of whose works have been engraved by him.  He was an artist of decided and original talent, who also occupied himself successfully with pyrogravure, and who was happily inspired by the Japanese colour-prints.  His etchings deserve a place of honour in the folios of expert collectors; they are strong and broad.  As to the engraver Felix Buhot, he was a rather delicate colourist in black and white; his Paris scenes will always be considered charming works.  In spite of his Spanish origin, the painter, aquarelliste, and draughtsman Daniel Vierge, should be added to the list of the men connected with Impressionism.  His illustrations are those of a great artist—­admirable in colour, movement and observation; all the great principles of Impressionism are embodied in them.  But there are four more illustrators of the first rank:  Steinlen, Louis Legrand, Paul Renouard and Auguste Lepere.

Steinlen has been enormously productive:  he is specially remarkable for his illustrations.  Those which he has designed for Aristide Bruant’s volume of songs, Dans la rue, are masterpieces of their kind.  They contain treasures of bitter observation, quaintness and knowledge.  The soul of the lower classes is shown in them with intense truth, bitter revolt and comprehensive philosophy.  Steinlen has also designed some beautiful posters, pleasing pastels, lithographs of incontestable technical merit, and beautifully eloquent political drawings.  It cannot be said that he is an Impressionist in the strict sense of the word; he applied his colour in flat tints, more like an engraver than a painter; but in him too can be felt the stamp of Degas, and he is one of those who best demonstrate that, without Impressionism, they could not have been what they are.

The same may be said of Louis Legrand, a pupil of Felicien Rops, an admirably skilful etcher, a draughtsman of keen vision, and a painter of curious character, who has in many ways forestalled the artists of to-day.  Louis Legrand also shows to what extent the example of Manet and Degas has revolutionised the art of illustration, in freeing the painters from obsolete laws, and guiding them towards truth and frank psychological study.  Legrand is full of them, without resembling them.  We must not forget that, besides the technical innovation (division of tones, study of complementary colours), Impressionism has brought us novelty of composition, realism of character and great liberty in the choice of subjects.  From this point of view Rops himself, in spite of 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.