e, or Cuirassier with resplendent helmet and flowing
horse-hair plume, for miles along the boulevards, making furtive
notes, when opportunities presented themselves and conditions were
favourable, of the details of epaulettes, buttons, cuffs, and all
the other paraphernalia. In the same way his many sketches of the
Paris _cocher_ necessitated frequent drives in an open carriage,
during which careful studies could be made of the ample back of the
typical French cabman, and of the flowing folds of his usually
voluminous neck.

[Illustration: HAVING THE TIME OF HER LIFE.
_Sketched in a Paris Cafe_]

Allusion has already been made to the progressive method by which
Frank Reynolds evolves a finished drawing, step by step, from an
initial idea roughly jotted down with a few strokes of the pencil.
His draughtsmanship depends, as must of course all draughtsmanship,
very largely upon memory. But it is his practice, whenever possible,
to obtain notes on the spot for later use. This was especially the
case with his work in Paris, where a pocket sketch-book was his
inseparable companion. A few pages of the latter are reproduced
here, illustrating the artist's quick perception and the instant
sureness with which, notwithstanding the leisurely pace of his
work under normal conditions, he conveys the spirit of his subject
by means of a few lines. An excellent example of this faculty is
the sketch of the fat priest (page 53) and his hirsute companion,
admirable in the spontaneity of expression with which the fleeting
impression of a moment has been set down on paper. Equally vivid
is the impression conveyed by the hurried sketch of an old woman
(page 22) made at the stage door of a theatre. The boulevards of
Paris are excellent places from which to study the comedy of life:
and as an example of the peculiar flavour of Frank Reynolds' humour,
it would be hardly possible to better the irresistible sketch from
life, furtively made whilst sitting amongst the audience at a _cafe
chantant_, which, with a nice sense of the absurd, is labelled in
the sketch-book "Having the Time of her Life."

[Illustration]

Montmartre, as might be expected, yielded excellent "copy," to employ
a journalistic phrase. In the _cafes_ and _cabarets artistiques_
were made some of the portraits from life already referred to.
But though portraits of actual individuals, the models from which
they were made are in every case so characteristic, so closely in
kee