bright and flippant posters can be seen any day on the London hoardings, and I have, therefore, purposely selected for reproduction two examples in his less usual manner. The "Lucile Wraim" is of an elegance to which Paleologue does not often attain, and would be distinguished in almost any collection of posters. "The Euskal Jai Parisien," besides being a good advertisement, is curious on account of its subject. Collectors who would possess a more typical example of Paleologue's work would be well advised to secure one or more of his music-hall series or his "Cabourg," an advertisement for the watering-place of that name. It is a large lithograph in five colours, and represents a very charming lady who, while bathing, is bent upon displaying her charms to the utmost. While Paleologue can in no sense be compared to Cheret in his gift of diffusing joyousness and gaiety, his work is undoubtedly "chic," and rarely fails in its first business of advertisement. Some of his posters have become difficult to procure, notably one designed for a Drury Lane pantomime some few years since. No artist, save Jules Cheret, has been more indefatigable in the making of posters than Choubrac. The list given in M. Maindron's book is a long one; that given in the catalogues of M. Sagot is still longer. The posters of Choubrac do not seem to have received so much attention at the hands of collectors as those of some of his better-known contemporaries. At the same time, not a few of them are interesting and rare. The bill done for the "Fin de Siecle" was suppressed, and, as a consequence, is in great demand. It exists in four states, three of which, in good condition, command no less than fifty francs. Merely to give the names of the music-halls and theatres for which Choubrac has worked would take up the better part of a page, while a list of the _artistes_ whom he has advertised would be still longer. Amongst the most noticeable of his recent bills are the following: "Eldorado. Y'a pas d'erreur," "Folies Bergere. Armand Ary," "Folies Bergere. Programme," "Folies Dramatiques. Miss Robinson," "Moulin Rouge. Au Joyeux," "Neuilly-sur-Seine. Fete des fleurs," and "Gaiete. Rosa et Josepha" (in two states). An artist more unlike Choubrac than Maurice Boutet de Monvel it would be assuredly impossible to find, and the fact that these names are in juxtaposition must be taken as proof that no systematic arrangement has been attempted in this chapter. Boutet de Monvel is a painter of European reputation. His fame as an illustrator for, and a delineator of, children stands very high. His studies of child-life are unlike those of any other artist. They display the keenest observation and, as Mr. Pennell has rightly observed, one finds in them not a line without [Illustration: 0169] [Illustration: 0171] meaning. Boutet de Monvel has, I believe, produced only three posters. Two of them are among the most charming things seen on the Paris hoardings for [Illustration: 0173]