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the details of its immediate applications, which are innumerable. To verify it directly, it would be sufficient to study closely the work of comic artists, eliminating entirely the element of caricature, and omitting that portion of the comic which is not inherent in the drawing itself. For, obviously, the comic element in a drawing is often a borrowed one, for which the text supplies all the stock-in-trade. I mean that the artist may be his own understudy in the shape of a satirist, or even a playwright, and that then we laugh far less at the drawings themselves than at the satire or comic incident they represent. But if we devote our whole attention to the drawing with the firm resolve to think of nothing else, we shall probably find that it is generally comic in proportion to the clearness, as well as the subtleness, with which it enables us to see a man as a jointed puppet. The suggestion must be a clear one, for inside the person we must distinctly perceive, as though through a glass, a set-up mechanism. But the suggestion must also be a subtle one, for the general appearance of the person, whose every limb has been made rigid as a machine, must continue to give us the impression of a