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and a shower of arrows, and waving above her head a great silken banner embroidered with the fleur-de-lis. Again, one lingers before the "Fêtes de Paris," attracted by its
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fine decorative qualities. Of an entirely different kind is the delicious little poster which the artist did for an exhibition of his own work at the Salon des Cent in 1894; in the naïve simplicity of the thing, combined with its fine decorative quality, there is a hint of Botticelli and the old Italians. The contrast between this poster, slightly archaic as it is, and the realistic "Odéon Théâtre" is complete. The latter represents a charmingly graceful girl, in a delicious modern gown, watching a play. She is accompanied by a highly-proper looking matron, whose self-importance is enhanced by the possession of a handsome dress and a wealth of jewels. Very pretty, again, is the "Librairie Romantique," with the façade of Nôtre Dame in the background. Less worthy of Grasset is the "A la Place Clichy," which, in spite of the majestic old oriental who descants on the merits of an elaborate carpet to a critical European, is somewhat commonplace. Among the other productions of this artist, some of them excellent, but not calling for special description, are the "Histoire de France," "Napoléon," "Chocolat Mexicain," and "L'Encre Marquet," as well as those done to advertise a work on the capital cities of the world, and the exhibition of the productions of French decorative artists held in 1893 at the Grafton Gallery. A bill designed for the South of France Railway Company is curious, insomuch as it is unlike the other productions of its designer. It consists of a series of pleasant little landscapes wreathed in the characteristic fruits and flowers of the Riviera. The colour is striking and the
