tic is implied in the French
conception of things, and the studio is as natural a consequence of it
as the post-office is of letter-writing. Vivid representation is the
genius of the French language and the need of the French mind. The
people have invented more aids to it than any other, and as these aids
make up a large part of the artist's life, he feels his best home to be
in the place where he finds them most. He may begin to quarrel with that
home on the day a complication is introduced by the question of _what_
he shall represent--a totally different consideration from that of
the method; but for Mr. Reinhart this question has not yet offered
insoluble difficulties. He represents everything--he has accepted so
general an order. So long as his countrymen flock to Paris and pass in
a homogeneous procession before his eyes, there is not the smallest
difficulty in representing _them_. When the case requires that they
shall be taken in connection with their native circumstances and seen in
their ambient air, he is prepared to come home and give several months
to the task, as on the occasion of Mr. Dudley Warner's history of a tour
among the watering-places, to which he furnished so rich and so curious
a pictorial accompaniment. Sketch-book in hand, he betakes himself,
according to need, to Germany, to England, to Italy, to Spain. The
readers of Harper will have forgotten his admirable pictorial notes on
the political world at Berlin, so rich and close in characterization.
To the _Spanish Vistas_ of Mr. G. P. Lathrop he contributed innumerable
designs, delightful notes of an artist's quest of the sketchable, many
of which are singularly full pictures. The "Soldiers Playing Dominoes"
at a cafe is a powerful page of life. Mr. Reinhart has, of course,
interpreted many a fictive scene--he has been repeatedly called upon
to make the novel and the story visible. This he energetically and
patiently does; though of course we are unable to say whether the men
and women he makes us see are the very people whom the authors have
seen. That is a thing that, in any case, one will never know; besides,
the authors who don't see vaguely are apt to see perversely. The
story-teller has, at any rate, the comfort with Mr. Reinhart that his
drawings are constructive and have the air of the actual. He likes to
represent character--he rejoices in the specifying touch.

The evidence of this is to be found also in his pictures, for I ought
alrea