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Rh that with some the "Mévisto à l’Horloge" will be deemed his best design, but it can in no sense be considered his most original. It represents the actor as Pierrot, and is graceful and pleasing rather than characteristic; indeed, one would almost think that in designing it the artist had been at pains to conceal his personality. Nor is the "Salon des Cent"—a charming and delicate little lithograph—in spite of the ingenuity and fantasy of its grouping of Pierrot, Harlequin and Columbine, the most noteworthy of Ibels' posters. We see him at his most original, in an advertisement for the illustrated paper entitled "l'Escarmouche," to which he, together with Lautrec, Vuillard, Willette, and Anquetin, contributed drawings. It represents a café of the lower class, such as abounds in the workmen's quarter of Paris. The enormously fat patron enthroned behind the metal-topped bar, the waitress, cloth in hand, clad in her slovenly dress, the ouvriers in typical blue blouses, are studies in which accurate portraiture has been but slightly sacrificed to grotesqueness. The whole scene is admirably conceived, and the colour scheme, though very restrained, is certainly telling. Those who can do so should secure a proof before letters of this work, for the lettering is, I believe, not by the artist himself, and mars the effect of the design, although not in a very marked degree. Another interesting