ing, are posters to all intents and purposes, and would take their places on a hoarding quite admirably. The subjects are most happily chosen; who, better than Chéret, could symbolize, in manner light and fantastic, music, comedy, pantomime, and dancing? The designs gain immensely, insomuch as they are not disfigured with a legend, for, in spite of the fact that the disposal of the lettering is of the very essence of a poster, Chéret, for some reason known only to himself, leaves that detail of his work to another designer, with results by no means uniformly fortunate. Before leaving Chéret, it is only just to him to point out that his work loses more than that of almost any other artist, in the process of reproduction in black and white. It is impossible to convey any idea of his amazing colour by means of a halftone block, and therefore, fewer reproductions of his designs are included in these pages than might be expected. Needless to say, he suffers greatly from more or less unskilful imitators. For this reason, combined with the fact that he is engaged on a series of decorations for the Paris Hôtel de Ville, his excursions into the art of the hoarding will be less frequent than has been the case hitherto.
To turn from Chéret to Eugène Grasset, is to turn to an artist in whose art career the poster is merely an incident. Grasset is a paragon of versatility; there are literally no;
