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34 most difficult to procure, the more recent designs show the artist at his best. A mastery of chromo-lithography such as his, cannot be obtained without many essays, some of which are foredoomed to failure. In addition, Chéret has gradually improved alike in the splendour of his colour, and the disposal of his pattern. Perhaps he has never been happier in his treatment of children than in one or two of the "Buttes-Chaumont" series. The joy of the little ones in the possession of their new playthings is contagious. Utterly different in kind, though not less conspicuously successful, is "Les Coulisses de l'Opéra au Musée Grevin," a delightfully piquant representation of a group of premières danseuses in the traditional costume. As a specimen of amazingly effective and strangely beautiful colour, it would be difficult to exceed the "Loie Fuller" series; while, in the matter of pert gracefulness, Chéret has done nothing more delicious than the chic little lady in the yellow dress who smiles at you in the "Pantomimes Lumineuses." Anybody who could resist her fascinations would be a rival to St. Anthony. No collector of course, will overlook the great series of affiches which Chéret has contrived for the Folies Bergère, the Moulin Rouge, the Alcazar d'Eté, and similar places of amusement.

In order to sum up his talent as a designer of posters, Chéret has produced four decorative panels, which, although without