the charming design done by Mr. Beardsley to advertise the Pseudonym series of short stories. In it we meet with the artist in his less mordant mood. The sketch of the old bookshop in the background is quite delightful, and the whole design is less grotesque than most of Mr. Beardsley's productions. The arrangement in purple and white, which he did for the same firm, is a very striking performance in his later manner. Its importance as a poster is, however, seriously discounted by the fact that the design has nothing whatsoever to do with the text, which has been added in a manner almost inconceivably clumsy. The success of Mr. Beardsley in the production of artistic posters has encouraged a host of imitators, so that it is quite within the bounds of possibility that he will found something in the nature of a school. Already, on the other side of the Atlantic, more than one artist has been inspired by him. The posters of Mr. Bradley, for example, with which I shall deal later, are unquestionably adaptations, at once skilful and intelligent, of Mr. Beardsley's decorative manner. Again, to return to England, the pleasant arrangement in red and white, designed by Mrs. Dearmer to advertise a recital recently given by her in London, proves that she has been affected by the simplicity and directness which are so conspicuous among the merits of Mr. Beardsley in his essays in the art of the hoarding. Of his many parodists only one, I think, has actually attempted the poster. The essay in question was made by Mr. J. Hearn, under the signature of "Weirdsly Daubery," and the result was very fantastic and amusing. The design was done for some amateur theatricals at Oxford, and it was curious to [Illustration: 0248] [Illustration: 0250] meet this atom of the so-called decadence flaunting itself, with strange incongruity, in every nook and corner of "the sweet city of the dreaming spires." The case of Mr. Maurice Grieffenhagen is similar to that of Mr. Dudley Hardy, insomuch as both have been well known for some time to the public as painters and as the producers of very accomplished work in black and white. At present Mr. Grieffenhagen, as a designer of posters, can only be judged by a single production. It may be said at once that nothing more distinguished, nothing which is less imitative or derivative, has come from English hands than Mr. Grieffenhagen's advertisement for the "Pall Mall Budget." Admirable alike in colour and in pattern, the poster is entirely appropriate to its purpose of keeping before the eyes of the public a publication which escaped frivolity on the one hand and dulness on the other. All who watch the development of the artistic poster in England with interest, cannot but hope that the "Pall Mall Budget" poster will be the first of a series by the same artist equally delightful and original.