ng line, and thinks, with regrets for opportunities lost, how admirable a successor he would have been to Raven Hill and "the man Sime" as collaborator with Arnold Goldsworthy in those shrewdly flippant theatrical critiques which the latter contributed over the familiar signature of "Jingle."
[Illustration: THE REAL ARTIST. From "Paris and Some Parisians"]
It is by his work for the Sketch, however, that Frank Reynolds is best known to the public. Credit is due to that enterprising journal not only for the discrimination which has caused prominence to be given to his drawings in its pages, but for the nice appreciation of the artist's peculiar vein of humour which has given him a free hand to produce those exquisitely subtle studies of character which are his especial province. As examples of what a humorous drawing should be they are well-nigh perfect. To Reynolds it is not enough merely to depict a laughable situation or superficially comic types. The humour of his drawings is