The Illustn

—the latter quite recently, together with Chansons
du Quartier Latin, illustrated in somewhat inferior
fashion, by Balluriau—asserts his ability in truly
authoritative style. Such works as Mai d'Amour,
Gai Pinson, Envoi de Eleurs, and Le Chanteur des
Bois (in the Chansons de Montmartre), like the
cover of the collection itself, show in all their force
the suppleness, the acute perception, the intense
variety of his pencil. To the title of each of these
songs he has devoted a pen landscape showing, in
vivacious and characteristic lines, some " bit" of
this Montmartre of which so much is sung. Among
many other things from his hand must be men-
tioned the covers of Chansoti crepusculaii-e, La Bal-
lade du Desespere, and Pourquoi files-tu ?

Georges Auriol, for his part, seems to keep further
away from actual life, and to be chiefly anxious
for decorative effect. He designs the lettering
and the ornamentation of Henri Riviere's albums;
and in this he really excels. For the Chansons
dEcosse et de Bretagne, for the Chansons Eleuries,
for Claudius Blanc's Sainte-Genevieve de Paris, and
for the Vieilles Chansons de France, and (latterly) for

Hon of Music

Trabaledo's songs for Georges Enesco's works and
those of Richard Mandl, he has produced most suc-
cessful covers, some with subjects in colours of most
decorative effect, and others with ornamentations and
lettering treated in very original and lucid fashion.

Such, then, have been the results of this move-
ment of which, in necessarily incomplete and hasty
manner, I have attempted to point out the leading
features. It will be remarked that music is almost
always illustrated by means of subject-drawings
adorning the cover, and those very artists who seem
just the most clearly fitted to attempt something
further seem fearful of risking it. Therefore, all this
work remains simply "illustration" in the unfavour-
able sense of the word. There is not sufficient
accord between the special purpose the drawing
should accomplish and the actual conception of
that drawing. Apart from the music there remains
nothing but an album of lithographs.

Henri Riviere and Georges Auriol are the only
artists who have attempted to achieve something in
the way of a closer union between the music and the
drawing, but even this is not enough. It is the

TITLE-PAGE FOR " L'ENFANT FRODIGUE " (ENOCH AND CO.)
96

BY HENRI RIVIERE