h space to relate. Mr. Reinhart's more
or less alienated accent fell, by good-fortune, on a comprehending
listener. He had made a satirical drawing, in the nature of the
"cartoon" of a comic journal, on a subject of the hour, and addressed it
to the editor of _Harper's Weekly_. The drawing was not published--the
satire was perhaps not exactly on the right note--but the draughtsman
was introduced. Thus began, by return of post, as it were, and with
preliminaries so few that they could not well have been less, a
connection of many years. If I were writing a biography another chapter
would come in here--a curious, almost a pathetic one; for the course
of things is so rapid in this country that the years of Mr. Reinhart's
apprenticeship to pictorial journalism, positively recent as they are,
already are almost prehistoric. To-morrow, at least, the complexion of
that time, its processes, ideas and standards, together with some of
the unsophisticated who carried them out, will belong to old New York.
A certain mollifying dimness rests upon them now, and their superseded
brilliancy gleams through it but faintly. It is a lively span for Mr.
Reinhart to have been at once one of the unsophisticated and one of the
actually modern.

That portion of his very copious work to which, more particularly. I
apply the latter term, has been done for Harper's Magazine. During these
latter years it has come, like so much of American work to-day, from
beyond the seas. Whether or not that foreign language of which I just
spoke never became, in New York, for this especial possessor of it, a
completely convenient medium of conversation, is more than I can say;
at any rate Mr. Reinhart eventually reverted to Europe and settled in
Paris. Paris had seemed rather inhospitable to him in his youth, but he
has now fitted his key to the lock. It would be satisfactory to be
able to express scientifically the reasons why, as a general thing, the
American artist, as well as his congener of many another land, carries
on his function with less sense of resistance in that city than
elsewhere. He likes Paris best, but that is not scientific. The
difference is that though theoretically the production of pictures is
recognized in America and in England, in Paris it is recognized both
theoretically and practically. And I do not mean by this simply that
pictures are bought--for they are not, predominantly, as it happens--but
that they are more presupposed. The plas