He lithographed posters of Cissy Loftus, of the beautiful Anna Held, _La Goulue_ the dancer of the Moulin Rouge, and May Belfort; and being particularly attracted by the picturesque possibilities of Yvette Guilbert, with her then lithe figure and inevitable long black gloves, he introduces her into many of his works. Then there is a remarkable poster advertising _Babylone d’Allemagne_, and a yet more striking one for _La Vache Enragée_, where we see a mad cow charging an old coloured dandy down a street. There is also the startling advertisement for “_L’artisan moderne_,” and the truly terrible “At the Foot of the Scaffold.” Apart from these there are his posters “in little,” and programme-covers, such as those for _Le Missionaire_ and _L’Argent_. The very peculiarities and incomprehensibilities inherent in Lautrec’s work were sure to arrest attention, and demand that scrutiny which is of the very essence of the successful poster. In every one of Lautrec’s poster designs there is something strikingly unusual. Very rarely is a figure drawn in its entirety; the margin cuts off part of it, otherwise the design would have been too conventional for him. The artiste Caudieux zig-zags across a stage seen in violent perspective, while down in a corner is a worried member of the orchestra studying the coming bars. Caudieux’s head is full of life and pent-up strength, and the whole movement of this quaintly placed figure is striking in the extreme. Jane Avril’s poster shows an anæmic-looking artiste doing a high kick on the stage. The foreground is occupied by a monster hand holding the head of a ’cello in the orchestra. The poster for the _Divan Japonais_, on the other hand, shows us a lady and gentleman in the audience listening to a singer on the stage, behind an orchestra. Of the singer we see monster black gloves, and everything but the head; of the orchestra we are shown two ’cello heads, and, of the conductor, the arms alone. The lady in the foreground--who looks as though she always turned night into day--is wonderfully depicted, as is her companion, the dissipated, bearded swell. Perhaps his most graceful work in the poster line is that advertising _Elles_. Finally in the poster for _La Gitane_, an unsavoury actress, arms akimbo, who comes right out of the design in the left hand foreground, smiles over her shoulder at the bold bad brigand who strides, in shadow, out of the poster at the top right hand corner. In all these and his other posters the lettering is bold and legible.