seems to me, its greatest claim to consideration. It is infused with a somewhat hectic gaiety which holds a not unimportant place in the lives of us suffering from this "sick disease of modern life." Of the sick disease itself, Chéret gives no hint. He is unflagging in his vivacity, unswerving in his insistence on the joie de vivre; instead of pondering over the inevitable sorrow of life, he busies himself depicting the naïve grace of the child, the elegance of the mondaine. His gifts lead him inevitably to such subjects. His merit as a draughtsman lies, in part, in vivacious rather than cored line: gaiety, as we have seen, is the chief quality of his colour: his composition is remarkable on account of the piquancy and appropriateness of its detail. He chooses with unerring fidelity the subjects suited to his temperament and his gifts. These subjects are not of infinite variety, and it follows that if one sees a great quantity of Chéret's work together, one becomes aware of a certain feeling of monotony. One can be satiated even of Chéret's gaiety and joyousness.
To attempt any account of Chéret's thousand and more posters, is obviously impossible in any but an elaborate monograph devoted exclusively to him. I can do no more here than comment on a few of the most striking. It may be stated generally, that while the earlier ones are rarest because
