theatre convulsed with laughter at what is taking place on the stage. The variety of expression on the faces of the spectators is infinite, and the effect of the whole thing is as mirthful as may be. From the advertiser's point of view, I can conceive nothing more completely satisfactory. It exists in colours and in black, and the latter is the rarer. The same artist's "Carte de Paris" would seem already to have become scarce. It is a large lithograph in one colour; an example was shown at the Poster Exhibition at the Royal Aquarium. There is also a large address card designed by Valloton for M. Sagot. While this is not actually a poster it almost amounts to one, and were it to be executed on a large scale, it would doubtless be most successful. It is to be hoped that Valloton, encouraged by his universally recognized success in the art of the poster, will not altogether give up its practice in favour of those other branches of art in which he is distinguished.
The style of De Feure, if not so well adapted to poster work as that of some of his contemporaries, is nevertheless very interesting. His most characteristic effort is, perhaps, the "Salon des Cent, 5e Exposition." This design is very modern and very fantastic. It exists in three states— proofs before letters on vellum, proofs on Japanese paper, and ordinary' prints. The proofs before letters command very good
