movement; they are satisfactory in their purely decorative work, but figures in repose are apt to become 'woodeny.' In point of colour, Spain beats France; and as France is so much in advance of England, it scarcely needs a Euclid to demonstrate that English posters cannot be compared to those of Spain. The latter exhibit at times an admirable sense of distance and proportion, which serves to show that their designers learnt to draw before they began to paint." The four examples reproduced here will serve to indicate the type of Spanish poster most frequently met with. Whether Spain, in the matter of the pictorial placard, is in advance of France or not, is a question of taste. However brilliant the colour of the Spanish affiche, the design seems to me to lack boldness. Take, for example, the "Gran Feria de Cordoba, 1895;" in this case the whole thing appears to be a series of elaborate details rather than a bold and impressive design. The poster in Spain, however, is rapidly becoming of interest, dealing as it does with fascinating and essentially picturesque subjects. It is difficult to obtain exact information concerning the artists who design posters in Spain; the examples which I reproduce here, I cannot attribute to anybody with any degree of certainty.
The Teutonic temperament is in no sense akin to the Spanish, and the pictorial posters
