ing sketch of the demure girl in her conventional dressiness, and the study of the self-conscious woman with her easy appearance of the correctly gowned and the well groomed. The placing of the kittens in the foreground of the latter study is an adroit keynote that sustains the interest. This keynote to human character is also one of the characteristics of the art of Mr. Harrison Fisher. Consciously or unconsciously, he always introduces some symbol into his compositions that relatively suggests the determining meaning. Most of this effective detail he obtains through clothes and the accessories of dress; perhaps no one of the illustrators, unless it be Mr. Henry Hutt, using such sartorial discrimination. as does he. The dress always proclaims the mood, as well as the man, in his pictures. Of the type of person so por

trayed, there is never any doubt of his status in life, the quality of caste and the position in society; the reality and the sham one sees at a glance. The extraordinary figure of Thorpe in the pages of Harold Frederic's Market Place will suggest this at once, and in the illustrations to Jerome K. Jerome's story now appearing in the Saturday Evening Post Mr. Fisher has more cleverly and more vivaciously exploited particular man in his particular moods. It is the enthusiasm of expression that comes, perhaps, from excess of perception; certainly from large sympathy of feeling. When Mr. Fisher was a boy in San Francisco he sold his first picture to a regular story-book old gentleman, who gave him three five-dollar gold pieces for it. The gold was not big enough to satisfy what it represented to him as he walked about

ing sketch of the demure girl in her conventional dressiness, and the study of the self-conscious woman with her easy appearance of the correctly gowned and the well groomed. The placing of the kittens in the foreground of the latter study is an adroit keynote that sustains the interest. This keynote to human character is also one of the characteristics of the art of Mr. Harrison Fisher. Consciously or unconsciously, he always introduces some symbol into his compositions that relatively suggests the determining meaning. Most of this effective detail he obtains through clothes and the accessories of dress; perhaps no one of the illustrators, unless it be Mr. Henry Hutt, using such sartorial discrimination as does he. The dress always proclaims the mood, as well as the man, in his pictures. Of the type of person so por

trayed, there is never any doubt of his status in life, the quality of caste and the position in society; the reality and the sham one sees at a glance. The extraordinary figure of Thorpe in the pages of Harold Frederic's Market Place will suggest this at once, and in the illustrations to Jerome K. Jerome's story now appearing in the Saturday Evening Post Mr. Fisher has more cleverly and more vivaciously exploited particular man in his particular moods. It is the enthusiasm of expression that comes, perhaps, from excess of perception; certainly from large sympathy of feeling. When Mr. Fisher was a boy in San Francisco he sold his first picture to a regular story-book old gentleman, who gave him three five-dollar gold pieces for it. The gold was not big enough to satisfy what it represented to him as he walked about

He began his professional career by drawing for a San Francisco newspaper when he was but sixteen years of age, and in a few years was transferred to a like position on a New York newspaper under the same ownership. His stay with it was a matter of months, and his connection with it was severed by the acceptance of two comic sketches of his by the editor of Puck, who gave the youthful draughtsman a staff position. It was not long until the delineation of character in his drawings commended his work to the editor of the Saturday Evening Post, then recently reorganised by the Curtis Company. He has been doing the most of its serial work since. During the past summer he went abroad with Mr. W. J. Archibald to furnish the pictorial part of some special articles for McClure's Magazine.

Mr. Fisher is so youthful as to be boyishly buoyant, and he is so serious as to be very old, despite his limited years. The daring of youth is in his line and the sageness of maturity in his human interpretation; it is a peculiar combination, and impresses his art with fresh vitality, much as in a personal way he reflects a boyish sincerity with a philosophic regard to essentials.

PORTRAIT SKETCH BY HARRISON FISHER.

the streets jingling it in his pocket. Then a happy inspiration struck him; he had it changed into silver-small silver-and spent the rest of the day walking the streets with his hands in his largely jingling pockets. It was the youthful instinct for the adequate expression of enthusiasm.

Mr. Fisher manifested his artistic inclination when he was a child of six; but as he was born to an art atmosphere, his father and grandfather being artists, his precocious talent was accepted as a matter of course, and his father instructed him in drawing and painting. Later, the family having removed from Brooklyn to San Francisco, he studied at what is now known as the Johns Hopkins Institute of Art, and it was then, in his student days, that the episode of the jingling rewards of art first came to him.

POSTER BY GEORGE WRIGHT.

Mr. Henry Hutt unites the qualities of Mr. Wright and Mr. Fisher, and presents them with a pleasing individuality, a daintier touch. His line is quaint and often whimsical, with an always picturesque ensemble; and he conveys his interpretation with sentiment and a redundant sense of beauty. As with Mr. Fisher, he makes clothes tell their portion of the story, but perhaps he is more an apostle of the well dressed.

Mr. Hutt is a Westerner; a few years since he graduated from that elementary school of art which so many artists have honoured until it has almost become a preparatory art career-that of designing for lithography-and after a short season of instruction at the Art Institute of Chicago he opened a studio in New York, his commissions warranting that step. His first important undertaking were the illustrations for a continued story for the Saturday Evening Post, and since then his precise signature has been attached to drawings in Harper's, McClure's, The Century and Life, to which he is a staff contributor. Mr. Hutt likes

IMPRESSION SKETCH BY HENRY HUTT.

IMPRESSION SKETCH BY HENRY HUTT.

women and children for his subjects, depicting them with finesse and daintiness of execution. His characters suggest spontaneity and human naturalness, but they are usually in a setting too decorative for reality.

The usual terms of art criticism do not apply to the odd charm of the work of Mr. Maxfield Parrish. Decorative it is to exaggeration, and whimsical and quaint, and so individual as to be personal, but withal so full of humour and sentiment as to make genial its Gothic spirit. In days to come some needlessly awful critic will rise up and accuse Mr. Parrish of creating an art that shall be a renaissance of Mediævalism when the host of his imitators traduce his tendency into popular disfigurement. Just now Mr. Parrish has the field to himself (unless one goes to France and includes Mr. Boutet de Monvel), and the public, an admiring one, is content that Mr. Parrish shall be its sole occupant. It is not surprising to learn that Mr. Parrish won his first recognition by taking a poster prize, and that his first work was bringing to pictorial reality the heroes and heroines of nursery rhymes. The survival of these reveal themselves in his