COMIC STRIP. The remote ancestry of the American serial comic would include the figures of "The Rake's Progress" and "Marriage a la Mode" of Hogarth, the work of Rowlandson and Cruikshank, and the "Robert Macaire" of Daumier and Philipon. The indigenous product first found expression in the back pages of the American magazines of the latter half of the 19th century. Conspicuous and enduring examples of this early work were Palmer Cox's "The Brownies," a series of drawings depicting the astonishing adventures of a race of benevolent little people, akin to the fairies; and the sketches of A. B. Frost. It was in the '9os that the comic serial found its way into the newspapers. "The Yellow Kid," a creation of that decade, contributed to the coinage of the term "Yellow Journalism." "The Yellow Kid" is generally credited to R. F. Outcault, who was also the originator of "Buster Brown." Frederick Burr Opper, E. M. Hawarth, T. E. Powers, Gene Carr, creator of "Lady Bountiful," and Carl Schultz, creator of "Foxy Grandpa," were other outstanding comic artists of the period. Somewhat later came the "Bird Center" cartoons of John T. McCutcheon, racy of the soil of the Mid `'Vest. There is an extensive and varied audience, that finds entertainment in the "animated cartoon," in which the familiar "Ignatz" and "Felix," and "Bud" Fisher's "Mutt and Jeff" disport upon the screen. "Mutt and Jeff" is a striking example of the longevity of what is, in the strictest interpretation, a comic strip. Among well known contemporary comic serials are Clare Brigg's "Mr. and Mrs.," "Ain't It a Grand and Glorious Feeling?" and "Oh, Man" ; H. T. Webster's "Poker Portraits" and "The Timid Soul"; and Fontaine Fox's "The Toonerville Trolley," "The Pow erful Katrinka" and "The Terrible Tempered Mr. Bang." (A. B. M.)