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lows. Even in a higher degree than the majority of them, he makes his design appropriate to the thing advertised. His decorations are spiced with a certain actuality, and, in being so, insist more effectively on the particular article the merits of which it is their business to proclaim. No better example of this could, I think, be put forward than the "Lait pur de la Vingeanne stérilisé," a design which, in view of the material to be advertised, is conceived in the happiest vein. The pretty little girl drinking the milk, so much coveted of the cats which surround her, is less interesting than the animals themselves. The draughtsmanship of the latter is excellent, while there is a hint of that humanity of expression about the creatures which has produced for the work of Landseer so immense a popularity. Not less admirable, and of still greater interest, is the poster designed to advertise the performances of Yvette Guilbert at the Ambassadeurs. Amongst the numerous artists to whom the Sarah Bernhardt of the music halls has given commissions none has been more successful than Steinlen. The poster represents the singer behind the footlights in an attitude pre-eminently characteristic. The thing does not amount to a caricature, as does the hitherto unpublished delineation of Toulouse-Lautrec, but is merely a slightly exaggerated portrait. It is remarkably suggestive of a most alluring and delightful