is pretty, alike in colour and pattern, and has already become rare.
Entirely appropriate to its purpose is the "Nouveau Cirque" advertisement, in which clowns, bare-back riders, and performing animals of all kinds—from a frog to an elephant—disport themselves with the utmost abandon. From this to the "Cacao Van Houten," is a far cry. From the point of view of the advertiser, Willette has done nothing better than his life-size study of a Dutch waitress in national costume. The thing is very decorative, and succeeds admirably in attracting attention: another and more complicated design for the same firm is only a shade less successful. This is entitled "La loi défendent le cacao contre le chocolat." The other posters of this artist include the rare "Petite National," the "Evénement Parisien" (which was, I believe, suppressed), the "Courrier Française," the "Exposition Charlet," and the "Elysée Montmartre." The posters of Willette are marked by variety and ingenuity of invention, and there is little doubt that they will be of permanent value as revelations of a talent as individual as it is powerful.
If the artistic poster is an unimportant incident in the career of Willette, it is still more so in that of Forain, whose essays in this direction have been few and far between. Forain is known to nearly every artist in Europe as a great master of black and white.
