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again, it is true, he has turned aside to do work of more universally recognized and more pretentious a character, and the very fact that he has touched scarcely anything which he has not adorned, emphasises his fidelity to a branch of art until quite recently despised and held of little moment. It is, indeed, mainly owing to this devotion, to this lavish expense of talent, that the poster is not even now considered beneath the dignity of the collector. The judicious, as soon as their eyes fell upon Chéret's vast lithographs, decided that he was no mere colour-printer's hack, but an artist whose work would have to be reckoned with. There was something positively alluring in the spectacle of a man who calmly placed his gift at the disposal of the tradesman, who accepted without murmur the limitations which the tradesman imposed upon him. It is possible that, had it not been for the circumstances of his life, the streets of Paris would have remained undecorated, so far as Chéret was concerned, to this day. Commencing as the humblest of lithographers, Chéret did not take up art of set intention, but passed irresistibly, though it may be unconsciously, into it. After long years of patient and tedious work as an ordinary lithographer, at the dawn of the year 1866, he commenced what was destined to be the most notable series of pictorial posters in existence, a series containing over