extravagant of our
social freaks. Probably the delighted recognition with which these
ruthless analyses of character were hailed was due to the satisfaction
which attends the exhibition of a proper object of satire meeting
with its just deserts.

[Illustration: THE WARRENER.
_Exhibited at the Royal Institute of Painters in Water Colours,_ 1907.]

No ridicule could be more serene, nor yet more biting, than that
with which the artist touches off the desperate efforts to attract
attention of the rowdy group of callow youths whom he names, with
a flash of inspiration, "The Dare-Devils" (page 10). Of "The
Suburbanite," to the writer's mind perhaps the most subtly accurate
character-study of all, the artist speaks in terms of apology.
It is hardly fair, he contends, to include in a gallery of pests
the bulwark of the nation!

A particular aspect of London life which provides a rich fund of
material for humorous treatment was dealt with by Frank Reynolds
in his series of drawings entitled "The 'Halls' from the Stalls."
As every frequenter of the variety theatre is aware, the programme
at such places of entertainment is arranged on certain well-defined
lines. The music-hall performer may be divided into certain very
distinct classes, each with its orthodox methods and mannerisms;
and it was on the little peculiarities of these different branches
of the profession that the artist seized with characteristic glee.

[Illustration]

How little his efforts, unfortunately, were taken in the spirit in
which they were meant, may be gleaned from the annoyance expressed
by one gentleman who considered himself, quite erroneously, to have
been singled out for individual ridicule. A certain drawing in
the series depicts "The Equilibrist"--an individual with an anxious
eye, who is poised upon a slack wire above the head of an admiring
assistant, balancing sundry cigar-boxes and wine-glasses on one toe,
while supporting on his head a lighted lamp, and discoursing sweet
music from a mandoline. The publication of this skit drew from a
wrathful professional an indignant letter, in which he declared that
insomuch as he was the one and only exponent of the equilibristic
art who could balance a lighted lamp upon his head, the picture
which illustrated this piece of "business" _must_ be intended as a
portrait of himself, though he considered it very badly done, and
a libellous production. From one point of view, it was surprising
that the imp