for it. Only when the two pick themselves up it is the Jew who has the money. But it is as a pictorial satirist of foibles and manners, as a master of the comic episode, the "Story without words," a genre which he introduced into France, that Caran d'Ache attained his biggest heights. For example, take two of the series of sketches reproduced with this article, "The New Hat" and "A Pious Lie." Is there anything in the work of Wilhelm Busch, Caran d'Ache's great German contemporary, that surpasses these two; that even equals them? Take "The New Hat." Here is a grotesque idea carried to its extreme. Yet when shakes his head; he is not to be softened. Monsieur continues his supplications; he brings his wife and the little ones to add their prayers to his. The dog is visibly touched. Finally two large tears roll down his cheeks, and he takes his departure to report to his master with noble mendacity: "There is no one there." Describing his methods, Caran d'Ache once said: "I work very slowly and I have preferred to draw in line. Of course, from my point of view artists should be able to draw anything. As to myself, I leave one branch of art severely alone: that is portrait-painting. Friends have often asked me to draw them; if ever I attempt to carry out their wishes once you catch the spirit of the pictures, the exaggerated resentment of the aggrieved party seems quite natural, and when finally you lay the series aside, your sympathies are, as Caran d'Ache intended they should be, entirely with the outraged owner of the hat. Even better, to the mind of the present writer, is "Un Pieux Mensonge," in which are mingled delightful humour and genuine tenderness. The hunter and his dog, out for game, come upon a rabbit hole. The dog dives down and finds Monsieur and Madame Rabbit at home, at the ends of a dining-table flanked by the little Rabbits. A terrible moment. Madame rushes to enfold her offspring. Monsieur approaches the invader. He pleads for mercy. The dog they are anything but pleased with the result. The worst of it is I really see people in line, and often, when I have produced a group which I consider almost photographic in its accuracy, I am informed that I have rarely made a better caricature! "My subjects I find here, there and everywhere: at a fashionable wedding; at any one and at all of the funerals, which, alas! play so great a part in our social life; when riding home on the top of an omnibus; walking, riding, cycling, impressions are stamped as it were on my brain. I do not entirely rely on memory, for I am fond of jotting down notes in a small memorandum-book if I hear a funny or original phrase, a joke that strikes me as really new, or anything that will suggest a new composition. I make use of a kind of artistic shorthand, which I will defy any one but myself to understand; the signs are made very quickly, they overlap one another; to me each is instinct with meaning, and even with form. But when it comes to the finished drawing that is a very different matter, no pains can be too great; and I can truly say that at no time, even when I was very poor, did I allow the necessi ties of the moment, if I may use such an expression, to control my output. I am a believer in very careful and conscientious work. People imagine that my drawings are 'dashed off.' I bow down before those who can produce easily; alas! I cannot claim to imitate their example. Take one comparatively simple matter, that of costume. Tell me what a man wears, and I will tell you what manner of man he is." Arthur Bartlett Maurice. THY WAY To live as thou would'st have me every day, Loving, unselfish, simple as a child, Whose eyes and heart have turned to Heaven and smiled. With each sun, saying, "It's but a day To crown, with thoughtfulness another's way Needs something I can give, Love's debt I'll pay." To bear, to strive, to work, to gain, to show No alien eye, the problem that I know To lock in in my heart and smiling go. This is my all, my creed, my goal, to say Jean Wilde Clark. THE GHOST WALKS: THE ACTOR AND HIS EARNINGS AWRENCE BARRETT once manufactured a coat of mail by studding a woollen undershirt with suspender Wong-expected ghost buttons, all because the long-expected ghost didn't walk on salary night, and he had to pace presentably the parapet of Elsinore whether or no. Who first said "the ghost walks," meaning salaries are being handed out, and just why he said it, is now lost in mystery. The play of Hamlet used to be the mainstay of the little fly-by-night company, and it is rather pleasing to fancy that once upon a time the business manager doubled with Hamlet's father-a part which admirably left him free after the third act to collect what money there was in the box and return to dispense it to the actors at the end of the play. Under such circumstances one may picture the trembling intensity of the hero's query, "Will it walk again tonight think you?" and Horatio shouting to keep his courage up, "I warrant you it will!" But whatever its origin, the phrase and its twin, "walking the ties"-a vivid presentment of the stranded actor-bid fair to outlast Shakespeare on our stages. The earliest record we have of the size of theatrical salaries in England is for one of the Miracle plays. It is as follows: Pay'd to the players for rehearsal- 2s. 6d. .2s. to Pilate his wife... to Fauston for cockcrowing.. 3d. Item for setting World on fire.. for mending Hell....... for painting Hell-mouth... 5d. 2d. 3d. From this expense account we may deduce several things. First, that actors |