have been the Chéret of his age: he was the great artistic advertiser of ancient Rome, just as Chéret is the great artistic advertiser of modern Paris.
It is obvious, then, that the idea of the illustrated poster existed among the Romans: the difference between Callades and Chéret is one of method rather than of vital principle. And even the difference in method is slight.
Of the poster in the time which immediately succeeded the fall of the Roman Empire we have very little trustworthy information. It is possible that the Romans introduced the album into Gaul and into Britain, and that the sight of it became as familiar to the inhabitants of Eboracum and Uriconium as it was to the natives of Rome and Pompeii. A French historian of distinction has stated that the affiche was employed by the earliest of the kings of France, but this statement can hardly be said to be borne out by facts. It is at least certain that the signboard, which is a variation of the pictorial poster, was employed in the early part of the Middle Ages. The poster, unless illustrated, would have been useless in a community in which the art of writing was held effeminate, in which the most illustrious knight openly boasted of his inability to sign his name. The principal means of advertisement at that time was the public crier. As early as the twelfth century the criers of
