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156 beautifully drawn. The lettering of this poster is most original, and the designer has evidently taken great pains with it. It is a lithograph in two colours, and measures forty-two and a half by thirty-one and a half inches. Schwæbe's larger poster, the "Salon Rose + Croix," is in one colour only, and is a good example of his work. So far this curiously-gifted artist has confined himself to advertising a concert and a picture show; it is not to be expected that he will ever condescend to soap or extract of beef. Another of the Rose + Croix men, Aman-Jean, has done a poster for the Salon which rivals in curiosity the productions of Schwæbe himself.

A little advertisement which had, it may well be, some influence on the poster movement in England, was that by which André Sinet advertised an exhibition of his own works held at the Goupil Gallery in 1893. This was an attractive little bit of design of which the colour was very agreeable. In addition to it, Sinet has done the inevitable poster for Yvette Guilbert. Another painter of talent who has made an advertisement for an exhibition of his own work is H. Guérard. It represents a group of ravens and is in poker work. It would appear to be rare, as it is quoted in none of the catalogues. A copy, exhibited at the Aquarium in 1894, is in the collection of Mr. Ernest Hart. Still another artist who

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license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


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 machinery, and, all in all, so complete that a careful examination of the house's contents will give one an accurate idea of how a Dutch burgher lived in centuries gone by.

A pretty conceit, written in Old Dutch, is to be found on the fly-leaf of a Bible preserved in the museum. It runs:

which, translated, reads:

Delft has recently founded a Rijks-Museum, known as Huis Lambert van Meerten, the curator of which is Heer A. Le Comte, who designed the façade Q


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 and made the drawings for the decoration of the interior. The building was planned by Heer J. Schouten. It is a museum of Art and applied Art. Josef Israëls, Hendrik Willem Mesdag, and the late Mevrouw Mesdag van Houten were the first contributors to the institution, which owes its origin to the late Heer van Meerten, a great and intelligent collector of things beautiful, and as early as 1894 he had entrusted to his friends Heeren Le Comte and J. Schouten the task of grouping his collection in a fine museum, but, owing to commercial losses, he was compelled to abandon his generous scheme, and his death temporarily suspended its being carried out. Thereupon a few friends formed themselves into a Dutch Art Syndicate, purchased a house, and presented the museum to the State.

The Municipality of Amsterdam has this


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Rh has, I believe, done only one poster, is Goissaud. His design was to advertise the "Société des miniaturistes et enlumineurs de France," and is a lithograph in one colour. Among the Salon des Cent series we have, besides the admirable posters of Grasset and Ibels already alluded to, a very grotesque and effective little design by Jossot. It represents an amazing old gentleman of weird aspect, in cocked hat, paying his franc for admission to the exhibition. Of its kind it is effective enough. Another, by Cazoly, with a curious portrait of Paul Verlaine is reproduced here.

It is certainly with no view to hurt the feelings of those artists whose names do not head this chapter that they are represented by a mere et cetera. It must be understood that one of the least polite of contractions, in this case, involves no discourtesy whatsoever.

For example, I may instance such able work as Grün's "Le Carillon: cabaret artistique." Few posters are more vivid or more actual than this. The price of it is a matter of pence, and it should certainly not be neglected by those whom it amuses to collect the affiche illustré. Grün, in addition to "Le Carillon," has produced "Poléon-Revue: Décadent's Concert," and in addition a design for an insurance company. One of the most charming of the more recent French posters is one by H. Gray, dealing with "La Prétentaine," a play produced

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 year begun preparations to convert into a museum Rembrandt's house at No. 4, Joden-Bree-Straat, where he lived several years. It was to this house that the great painter brought his wife Saskia, and there she died; there he lived until his fortunes declined, when he sought a refuge somewhere else in the city, no one knows exactly where. This museum is to contain many valuable contributions from various public benefactors, and thus Rembrandt will be honoured in the town which has taken him to her bosom as her son; his native town of Leyden does not possess any of his works.

The churches of Holland would have been a feast for the eye had they not suffered from the iconoclasm of the Protestants, who in their zeal smashed or whitewashed all that was artistic and ornamental. When entering them one


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 feels some sympathy with Castelar, who said: “Well, yes, I am a freethinker; but if some day I were to return to a religion, I would return to the splendid one of my fathers, and not to this squalid and nude doctrine that saddens my eyes and my heart.” At 'S Hertogenbosch (Bois-le-Duc) is one of the largest churches in Holland, and perhaps the finest architecturally; it is the only one well preserved within, as it is the centre of a Catholic province, but its inner decoration, is in poor taste. This is the Cathedral of St. John, one of the three most important medieval churches in the land, the other two being the Cathedral of Utrecht, and the Church of St. Nicholas, at Kampen. Haarlem, Leyden, Rotterdam, and Amsterdam possess Gothic churches, but all of them have suffered from the effects of bigotry. Here and there remains a carved


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 pulpit, stained choir windows, as at Gouda, or a fine old chandelier. It may be mentioned that the choir-screen of the Cathedral of St. John is to be seen at the Victoria and Albert Museum, to which it was sold for the purpose of devoting the sum received to the inner decoration of the cathedral.

Even in the almshouses, refuges, and asylums do their residents derive benefit from the national culture of Art. Old folks, ancient mariners, and orphans are all comfortably and prettily housed, while most of the last-named wear attractive and gay costumes which do not continually remind them of their lonely condition. The Municipal Orphanage in Amsterdam contains in its regents' rooms paintings by J. Backer, Jürgen Ovens, A. de Vries, and others; while the court, with its open colonnade, is of interest. One of the sights of Amsterdam


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 is to see a procession of girls from the Municipal Orphanage garbed in costumes in which the black and red colours of the city are displayed. Those of the Roman Catholic Orphanage wear black dresses and white caps, while those of the Walloon Orphanage wear violet-coloured gowns. A quaint and charming building, from the architectural point of view, is the Azyl voor Zeelieden (Asylum for Seafolk), to be seen at Brielle, where rest a number of old men who have sailed many a sea, and in whose features can be traced the hardy “Sea-beggars” who freed their little town from Spanish oppression. These picturesque bits are to be met with at every step of one's pilgrimage through a land whose people care with tender kindness for the aged, the poor, and the orphan.

The three historic Dutch Universities are Leyden (1575), Groningen (1624), and


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 Utrecht (1636); and though Leyden had, and possibly still has, a certain precedence, they are equal in law; and with them, since 1877, has ranked the University of Amsterdam, though it is a municipal, not a State, institution. The Technical School at Delft, also, has recently been granted the status of a University. Besides the town, there is also a Free University of Amsterdam. Leyden and Utrecht have about the same number of students—700 to 800; Groningen about half that number; the Amsterdam Free about 100 to 150. The greatest number of students is found at the Delft School—some 1,100 to 1,200. None of the Universities is residential; they all follow the Scottish model (or the Scots follow them). The students lodge in the town, and are for the greater part their own masters. The course for Medicine is eight years; Law, four;


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 R. Cooper sculpt.

THOMAS LORD FAIRFAX.

From a Picture by Walker.


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 Theology, five; Science, six; Philosophy and Letters, six. Each University comprises these five Faculties. The Professors hold their chairs from the Sovereign, and the body of the Professors—the Senat—is presided over by a “Rector Magnificus,” appointed (also by the Sovereign) for the scholastic year from a list of three candidates presented by the Senat—this in the State Universities. The Burgomaster is at the head of the “college” of the town University, which contains two members appointed by the Town Council and two by the Sovereign.


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 A FRAGMENT OF A DESIGN BY WILL H. BRADLEY.

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 DESIGN BY WILL H. BRADLEY.

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 To My Father


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Page:The Rainbow, Lawrence, 1921 reprint.djvu/7

 THE RAINBOW


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166 some time ago at the Nouveau Théâtre. In addition he has advertised "La Bonita" at the Cirque d'Eté, "Les Mousquetaires," at the same place, "Les Saltimbanques" at the Cirque d'Hiver, and the bal masqué at the Théâtre de l'Opéra. The last is perhaps the best known of his affiches. Among others, Bac has done a poster for Yvette Guilbert at the Horloge, which is signed and dated 1892. The bicycling craze has called into existence a perfect torrent of posters, and Bac, together with Gray, Guillaume, Lunel, and Paleologue, have produced posters of more or less interest. A gentleman who is sufficiently modest not to state his name, did a design which called forth the wrath of the authorities. Whereupon an artist called Lepur designed an affiche bearing the significant legend, of which this is a translation: "Grand choice of vine-leaves (fig-leaves) of all sizes for posters, as demanded by the virtuous journals, the 'T(emps'), the 'G(aulois'), and the 'D(ébats')."

The following is a list, with the names of typical examples of their work, of some other French artists of distinction who have designed posters: Barbizet ("La branche cassée"), Bouisset (F.) ("Bazar de l'Hôtel-de-Ville," "Exposition de jouets," "Chocolat Menier"), Desicy (H.) ("Un héritage, roman"), Dutriac ("Ambassadeurs: Danseuses Espagnols"), Faria ("Ba-ta-clan:

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Page:U.S. Department of the Interior Annual Report 1890.djvu/89

 REPORT OF THE SECRETARY OF THE'IN’I‘ERIOR. LXXXV not known in Alaska until three months after the liscal school year commences. A failure on the part of Congress any one year to make thcmecessary appropriation would close the schools, scatter Govern- ment property, and throw the teachers out of employment thousands of miles away from home and friends. The disadvantages of the pres- ent system need but to be stated to he seen. In the Western States and Territories the general land, laws of the country provide that sections 16 and 36 in each township be set apart for the use of the schools in said States and Territories. In some of the States this has been a mnnillcent endowment. But Alaska has no townships and no law by which they can be surveyed, and when, in the course of time, the general land laws are extended over it the nat~ ure ot' the country and the peculiar climate and the requirements of the population will prevent to any great extent the laying out of the lands in sections of a mile square. Thus while no school fund is prac- ticable fcr years to come from the lands, the General Government de- rives a regular revenue from the seal islands and other sources, a por- tion of which could be used in the place of the proceeds of the sale of school lands. OOKPULSOBY EDUCATION. IV. The operation of the obligatory attendance law, which was enacted by the Territorial board of education and approved by the Secretary of the Interior, in 1887, has been recently suspended by order of the United States Commissioner of Education. » In view of the importance of some suitable law for securingthe more regular attendance at school of the children of Alaska, the Territorial board of education, at its semi-annual meeting, June LL19, took the following action: Whereas it is the invariahle experience of all who have been engaged cr interested for years in the dithoult task of attempting to educate and civilize the natives and creoles of Alaska that the greatest obstacles to success are- First. The want of adequate means of securing the regular and general attend- ance of the children of these people at the various Government schools; and Second. The stolid indiierencs, superstition, and tear of change on the part of the greater number of the parents of such children; and Whereas experience has also demonstrated that wherever native policemen have been employed and paid heretofore a moderate compensation for gathering these chil< dren into the school-rooms, and thus compelling attendance, not only is the average attendance itself largely increased, but an interest in the progress of the pupils and the success of the schools themselves has been gradually and permanently created in those native and oracle parents; and Whereas the Government of the United States is annually appropriating large sums of money for the purpose of educating and civilizing these people und employ- ing competsnt and zealous teachers for that purpose, who are making great sacrifices by enduring severe privations, general discomfort, and personal isolation among an alien and hurbarous race of people: Therefore he it Besolved by the Territorial board of education, That the Hon. Lyman E. Knapp, the governor of the district of Alaska, is hereby requested and urged to embody in his forthcoming annual report to the Department of the Interior the suggestions we have made herein, with the recommendation that Congress take the subject of compulsory


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168 Paulus"), Dufay ("Portrait,") ("Les Rey Nol's)," Galice (G.) ("Concert parisien: Esther Lekain," "Fête des Fleurs," "Paulan Brébion," "Scala: Jeanne Bloch"), Guydo ("Eldorado: Aimée Eymard"), Honer ("Concert parisien: Bonnaire"), Hope ("Gaieté: Tour de Nesle"), Huvey ("Grasside"), Lamy (L.) ("Le capitaine Henriot, opéra comique," "Théâtre national lyrique"), Lebégue (L.) ("Bals travestes et tableaux vivants"), Lefèvre (L.) ("Cacao lacté," "Electricine," "L'hiver à Nice"), Levy (E.) ("Châtelet Michel Strogoff," "Cirque d'Hiver: Caravane dans le désert," "Folies Bergère: Vue de la salle," "Petit national: Le prince Mouffetard"), Meunier (G.) ("Papier à cigarettes Job," "Parfumerie Edéa," "Le Sahara à Paris: Champ de Mars"), Truchet (A.) ("Cabaret des Quat'z' Arts," " Eldorado: Alice Berthier.")

It will have been noticed already how great a part the music-hall and the café chantant play in the history of the pictorial poster. Yvette Guilbert has been the cause of a baker's dozen of affiches; Anna Thibaud (that charming singer of the songs of Béranger); Anna Held, with her curious manner, and still more curious appearance; Irène Henri, of intense personality; Jane Avril, and May Belfort; to say nothing of Aristide Bruant, of Caudieux, of Paulus, and the rest of the school who have made the music-hall stage of France a matter of no small importance

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 is the circumstance, not so generally appreciated, that the forest zone itself is nowhere untenanted by man, and that in favourable circumstances within that zone other solutions were found for the problem not merely of maintaining life but of acquiring reserves of vitality which permitted aggressive exploitation, and engendered a culture appropriate to the forest régime.


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Page:What to draw and How to draw it by E. G. Lutz.djvu/23

 19


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172 phantoms lingering in the haze of memory. Only yesterday they were intensely actual, to-day they are not more real than Burbage and Betterton. After all, the history of the actor's art is not without its immortals. Macaulay's schoolboy could doubtless have related the compliment of Dr. Johnson to Mrs. Siddons: the latest escapade of the great Sarah is the joy of the paragrapher. The music-hall, however, has still no artist in any country (save, perhaps, the unforgettable Yvette) who has much chance of permanent remembrance. But when the toil and moil of existence is ended, when the singer has sung his last song, it may chance that he will be remembered because some collector of such unconsidered trifles as picture posters has placed in his portfolio a work of Chéret or of Lautrec.

To turn from the music-halls to the great railway companies is an emphatic transition, and yet the former, no less than the latter have done much to encourage the artist to apply his talent to the affiche. The Great Western Railway Company have illustrated at their stations and in their carriages, by means of photography, all that is romantic and interesting in the country through which their line runs. And, again, the great lines of the United States have brought into vogue vast systems of pictorial advertisement. Their opportunity was undoubtedly a magnificent one. For subject

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Rh matter they had some of those vast natural developments which appeal to mere man as absolutely terrific. The waterfall, splashing itself into luminous dust, the immense and silent mountains, the lakes which are seas, the vasty cañons which occur in different parts of the States, inevitably appeal to the imagination. It is therefore not wonderful that the great lines of America have preferred literal and exact illustration to fantastic delineation. The railways of France, on the other hand, have employed to no inconsiderable extent the artist to figure the beauties of the places at which they have stations. Amongst the most important French designers who have worked at the railway affiche are:—Fraipont (G.): ("Chemin de fer de l'Etat: Bains de mer de Royan": "Royan sur l'Océan," "Chemin de fer d'Orléans: Excursions en Touraine": "Excursions en Touraine et aux châteaux des bords de la Loire," "Chemin de fer de l'Ouest: Argenteuil à Mantes," "Cie de l'Ouest et de Brighton: Fleurs, fruits, primeurs à destination de Londres," "Paris à Londres (L'Angleterre et l'Ecosse)" "Chemin de fer du Nord: Excursions à la mer," "Chemin de fer de l'Est: Royat," "Chemin de fer de l'Ouest: Bretagne, Normandie," "Normandie et Bretagne," "Chemin de fer de l'Ouest à Brighton: Paris à Londres," "Chemin de fer du Nord: Anvers, Exposition

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178 Ochoa: ("Club Train," "Mediterranée," "Express (Cie Int. des wagons-lits)," "Orient- Express," "Peninsular-Express"). Hugo d'Alési (affiches simili-aquarelles): "Paris, Lyons – Marseilles, Algérie," "Genève," "L'hiver à Nice," (two subjects), "Lac de Thoune," "Mont Revard," "Le Mont Rose," "Le Puy," "Tunisie," "La Turbie," "Uriage-les-Bains," "Chemin de fer du Midi: Pyrénées," "Chemin de fer d'Orléans: Excursions en Auvergne" (1894), "La Creuse et l'Indre," "Chemin de fer de l'Ouest: Dieppe," "L'Auvergne (Orléans)." Lefèvre (L.): "Nord. Eté a Cobourg," "Orléans Excursions aux Pyrénées," "Bains de mer du Golfė de Gascogne," "Ouest Excursions sur les côtes de Normandie, en Bretagne, et a l'île de Jersey." Among other designers for French railway companies and watering-places may be named Orazi, whose "Trouville" poster is reproduced on p. 181, Balzer, Baylac, Japhet, and Ogé.

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Kingsley Airman shows No Slack attitude during deployment

=Kingsley Airman shows No Slack attitude during deployment= By: 2nd Lt. Heather Bashor, 173rd Fighter Wing Public Affairs

Kingsley Airman have a reputation for their personification of the Air Force Core Values. As they travel around the country and world, their No Slack attitude is evident, reinforcing the positive reputation of Kingsley Field. Major Stephen Schultz, a traditional guardsman who serves as a Health Services Administrator for the 173rd Medical Group, was no exception.

Schultz, a professor of Medical Imaging Technology at the Oregon Institute of Technology in Klamath Falls, Ore., recently returned from a 12 month deployment to Arlington, Virginia where he served in various distinct capacities for the Office for the Administrative Review of the Detention of Enemy Combatants (OARDEC).

Schultz recalled how his experience began. “I was ready and willing to deploy” said Schultz. “When the opportunity arose, I quickly responded.” Schultz knew the assignment was related to Guantanamo but was not sure of the details.

“I had to respond to an extensive questionnaire in order to qualify for the deployment,” stated Schultz. “The questions examined my thoughts and feelings towards 9/11, and my connections to anyone directly or indirectly impacted by 9/11. Also, I could not have previously deployed to Iraq or Afghanistan.”

After being chosen for the deployment and attending a 30-day training in Mid-East culture and the Islamic faith, Schultz began his official deployment duties as a Case Research Officer researching cases regarding Guantanamo detainees. His primary duties involved the research and review of hundreds of documents in order to develop an argument from opposing perspectives: The case for continued detention of a detainee as well as the case for transfer or release of a detainee.

Schultz explained that the process required the methodical review, analysis and consolidation of intelligence and law enforcement reports from the Central Intelligence Agency, Federal Bureau of Investigation, Defense Intelligence Agency, and other U.S. Government intelligence agencies. It included the identification, transfer and reading of over 2,500 documents to ensure all pertinent information was considered to make an accurate determination.

Next, Schultz was tasked with compliance to DoD Freedom of Information Office requests. This position involved many hours of reading and redacting documents for release to the public. Schultz developed a reputation for his, “analytical acumen and thoroughness.” He redacted 17 detainee Administrative Review Board (ARB) cases that required the review of 1500 document pages.

As Schultz continued to shine, he was given more opportunities to lead and grow. Due to his outstanding efforts, Schultz was personally chosen to manage the Guantanamo Foreign Delegation Liaison Program as the Department of Defense Liaison Officer to the State Department. He worked with the Department of Defense, the Department of Justice and the State Department to coordinate foreign delegation trips to Guantanamo, and he was responsible for obtaining security clearances for foreign delegation members.

These foreign delegations interviewed detainees at the U.S. Naval Base Guantanamo Bay, Cuba for possible transfer and relocation to their country of origin. Schultz escorted the foreign delegations from Washington DC to Guantanamo Bay. Upon arrival at Guantanamo, Schultz remained with the foreign delegations throughout all of their activities including interviews with detainees to determine suitability for citizenship in their respective countries.

“What an eye-opening and rewarding experience,” explained Schultz who was able to witness many aspects of the operations at Guantanamo Bay as well as play a major role in furthering the safety and security of our country and continued partnerships with other nations.

The lessons learned from Major Schultz’s experience are the once-in-a-lifetime opportunities offered by deployments and the value of hard work and persistence.

“They did not want me to leave,” stated Schultz.

Schultz was an invaluable asset to the OARDEC. He returns to Oregon as an outstanding representative of Oregon and the Air National Guard.


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Rh almost at every meal, have to set a limit to their indulgence of natural appetite; and often, in the great duty of adapting themselves to circumstances, have, in all probability, to see their own tables supplied very differently from those of their wealthier neighbors; I would begin early with the course of training most likely to render such crosses of inclination so habitual as scarcely to be felt; nor can I see that there is more injustice in denying a great variety of food to a child because it is little, than because it is ill.

To learn our true position in life, and to be satisfied with it, whether in childhood or old age, is one of the most important of human attainments; and if a mere child is allowed to consider itself upon the same general footing as a man or woman of thirty, it will either have to endure being undeceived by some painful and humiliating process, or else it will continue committing acts of egregious folly for the remainder of its life.

Whenever children exhibit that kind of arrogance and self-sufficiency, which can only exist in connexion with extreme ignorance, it is best to let them try some of the mighty feats of which they boast, and, without exulting in their disappointment, simply leave them to the consequences of their own presumption.

But in order to bring all children to a right sense of their real capabilities, as well as their true position, they should often be thrown upon their own resources. By having amusement too constantly supplied, they seldom learn to know what it is they really want; and thus will sometimes grow fretful in the midst of a world of toys, just as they become feverish and ill in consequence of being fed so often, that they have no time to be hungry. One of the most striking characteristics exhibited by children, is the alacrity with which some will seek and provide their own resources; and if their mother wishes that they should grow up industrious, useful, and happy, she will afford them every encouragement in doing this. She will consequently allow them materials for creating their own amusement, rather than finished toys; and whenever they have kept steadily to one object, so as to accomplish a design, however simple, rude, or worthless as a whole,

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62 love should seize the opportunity for bestowing a large amount of approbation upon the effort.

Much also may be done by a mother in the way of stimulating a laudable ambition in her children to accomplish certain ends; but she must be especially careful not to go too far, or to encourage their attempting what is impossible to them. It is unspeakably distressing to hear hasty and inconsiderate parents sometimes insisting upon what is impracticable, and going on to declare that their children must and shall do certain things; without taking the trouble to ascertain whether there may not be some insurmountable obstacle in the way. Indeed, notwithstanding all the boasted tenderness called into exercise on behalf of children, there is also a vast amount of cruelty practised upon them, purely from want of thought. And then the absurdities which are proposed to them as reasons for submission! I remember to have been told, night after night, that I must eat all my apple-pie, a thing to which I had a particular aversion, because there were so many poor children who would be glad to have it. Now, how these poor children should be benefited by my eating what they liked, and I did not, I never could make out; as little could I imagine how it should be a merit in me to eat up all, when they would have been so glad to have a part. She was a good kind nurse, however, who used to tell me this, and maintained the highest character as a servant. The question is not with such, but whether there may not be mothers who err almost as strangely in their moral training.

Dr. Johnson has told us that pity is not a natural feeling—that it must be taught to children before they can exercise its soothing power. And certainly it has often appeared to me one of the least attractive features of infancy, that children should evince a mischievous desire for getting one another into scrapes. Not that they delight in seeing the punishment they have brought upon their playmates actually inflicted; the spectacle of suffering appears to shock them, in its absolute reality. But still they run and tell, when there is no occasion to do so, that such a one—perhaps their favorite companion—has been committing, an act of delinquency, the disclosure of which they know will bring disgrace and suffering upon the offender.

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Rh In the same way we often see children tormenting animals, even the very pets they consider as their own, and appear at other times to love; not certainly in ignorance that there is torment in what they are doing, but purely, as it would seem, from an inclination to give pain. I am the more disposed to think there is this element in the human character, because I know individuals, kind and benevolent in the general tone of their feelings, who, from never having been taught to pity the sufferings of the animal creation, inflict the most wanton cruelty simply as an amusement.

It becomes, then, an important part of a mother's duty, to teach her children the loveliness, as well as the utility of pity; for without pity, there would be little done in the world toward relieving individual distress. Pity is the forerunner of help; and whoever can not pity, is without the mainspring of all human kindness.

I have sometimes thought that by being allowed the care of tame animals, children might be taught to feel both pity and sympathy for this portion of the creation. But then there are so very few animals capable of being made so happy in confinement, as they would be in their natural state, that there appears considerable danger, lest we should by this means be guilty of inflicting misery for the sake of seeing it pitied. There are some, however, such as dogs, rabbits, Guinea-pigs, and some kinds of birds, which, if not confined too closely, and carefully supplied with their favorite food, exhibit every symptom of cheerfulness, and even satisfaction in their lot. Among these, there will unavoidably be deaths and disasters of various kinds, calculated to call forth feelings of pity; and the boy, who in early childhood has really loved his own dog, will be likely to show kindness to all others, for the sake of that long-remembered favorite.

Many important facts in natural history may also, by the same means, be impressed upon the minds of children, so as never to be forgotten in afterlife; especially that important fact, that in connexion with animal life in a healthy state, there is always, to a certain extent, a capability both of enjoyment and suffering. The child learns, too, in the same way, its first moral lesson—that, by the exercise of kindness, the creatures dependant upon its care are made

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Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 4.djvu/609

 A LITERARY ECLOGUE.

——"Nimium ne crede colori."—, [Ecl. ii. 17].


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30 a thousand items, and one which happily has yet to close. It is doubtless the conditions of his early life, the lessons learned while under the yoke of trade, that have enabled Chéret to appreciate to the full that the first business of an advertisement is to advertise. Avoiding, therefore, all subtle harmonies, he goes in for contrasts of colour, violent, it is true, but victorious in their very violence. Blazing reds, hard blues, glowing yellows, uncompromising greens, are flung together, apparently haphazard, but in reality after the nicest calculation, with the result that the great pictures, when on the hoardings, insist positively on recognition. One might as well attempt to ignore a fall of golden rain, as to avoid stopping to look at them; they are so many riots of colour, triumphant in their certainty of fascinating and bewildering the passerby.

As may be imagined, Chéret's skill has fullest scope when dealing with the lightest and gayest subjects: a cascade de clowns— to borrow a phrase of Huysman—an entrance of ballet girls; a joyous troupe of children, contented because toy-laden; these, and the like, are subjects most congenial to him. His style is essentially the outcome of the day. It possesses no decorative forerunners; it is not a thing derived; its parents are the gaieties of modern Paris. It is intensely actual, and in its actuality lies, it

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Rh seems to me, its greatest claim to consideration. It is infused with a somewhat hectic gaiety which holds a not unimportant place in the lives of us suffering from this "sick disease of modern life." Of the sick disease itself, Chéret gives no hint. He is unflagging in his vivacity, unswerving in his insistence on the joie de vivre; instead of pondering over the inevitable sorrow of life, he busies himself depicting the naïve grace of the child, the elegance of the mondaine. His gifts lead him inevitably to such subjects. His merit as a draughtsman lies, in part, in vivacious rather than cored line: gaiety, as we have seen, is the chief quality of his colour: his composition is remarkable on account of the piquancy and appropriateness of its detail. He chooses with unerring fidelity the subjects suited to his temperament and his gifts. These subjects are not of infinite variety, and it follows that if one sees a great quantity of Chéret's work together, one becomes aware of a certain feeling of monotony. One can be satiated even of Chéret's gaiety and joyousness.

To attempt any account of Chéret's thousand and more posters, is obviously impossible in any but an elaborate monograph devoted exclusively to him. I can do no more here than comment on a few of the most striking. It may be stated generally, that while the earlier ones are rarest because

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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

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Rh, are posters to all intents and purposes, and would take their places on a hoarding quite admirably. The subjects are most happily chosen; who, better than Chéret, could symbolize, in manner light and fantastic, music, comedy, pantomime, and dancing? The designs gain immensely, insomuch as they are not disfigured with a legend, for, in spite of the fact that the disposal of the lettering is of the very essence of a poster, Chéret, for some reason known only to himself, leaves that detail of his work to another designer, with results by no means uniformly fortunate. Before leaving Chéret, it is only just to him to point out that his work loses more than that of almost any other artist, in the process of reproduction in black and white. It is impossible to convey any idea of his amazing colour by means of a halftone block, and therefore, fewer reproductions of his designs are included in these pages than might be expected. Needless to say, he suffers greatly from more or less unskilful imitators. For this reason, combined with the fact that he is engaged on a series of decorations for the Paris Hôtel de Ville, his excursions into the art of the hoarding will be less frequent than has been the case hitherto.

To turn from Chéret to Eugène Grasset, is to turn to an artist in whose art career the poster is merely an incident. Grasset is a paragon of versatility; there are literally no;

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48 bounds to his comprehensiveness. Besides being a painter of distinction, he has designed everything, from stained glass to book-covers, from piano-cases to menus. Unlike Chéret, he has been profoundly impressed by the work of old decorative designers; he has certainly not disdained to borrow; his borrowings, however, have been at once legitimate and intelligent. The Japanese, the old Italians, and in a less degree, the ancient Greeks, have been laid under contribution, with results which, if not amazingly original, are at least delightful. It would be idle to pretend that, from the standpoint of the advertiser, Grasset is the equal of Chéret. His sense of beauty, his passion for decoration, make it impossible for him to achieve the daring and victorious colour which is so effective in the work of Chéret. A panel of his posters, side by side with a panel of those of Chéret, is as a beautiful and somewhat quiet-hued wall-paper to a cascade of flowers of every conceivable colour. While, however, this is an important matter from the advertiser's point of view, it is of little moment to the collector, whose primary object is to fill his portfolios with things of beauty. At times, indeed, Grasset does achieve irresistible advertisement; nobody, for instance, could overlook the superb representation of Sarah Bernhardt as "Jeanne d'Arc," standing with splendid disdain amidst a forest of spears

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Rh 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

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 ; Paris, moreover, with its gaiety of aspect materially diminished. The great masses of variegated colour formed by Chéret's posters greet one joyously as one passes every hoarding, smile at one from the walls of every café, arrest one before the windows of every kiosque. The merits of the Saxoléine lamp, the gaieties of the Moulin Rouge, the charms of Loie Fuller, the value of a particular brand of cough-lozenges, are insisted upon with a good-humoured vehemence of which Jules Chéret alone appears to know the secret. Others, in isolated cases, have possibly achieved more compelling decorations, but none can pretend to a success so uniform and so unequivocal. Few men as richly endowed with the gift of decoration would I have been content to produce work which, were it not for the portfolio of the collector, would be of an entirely ephemeral character. It must be irritating to the artist to watch the gradual destruction of his chefs-d'œuvre, condemned as they are to be torn by every wind, soaked by every shower, blistered by the sun, blurred by the fog. It is natural that he should turn his eyes longingly to the comparative permanence of canvas, marble, or bronze; and it says much for Chéret's confidence in his artistic mission for his nice realization of his possibilities and limitations, that he has remained faithful to the affiche for over twenty years. Now and

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many contemporary French artists are designing posters, that a single chapter dealing with them all would be of an alarming length. I have therefore, in the first place, separated from their fellows three who seem to me curiously individual and worthy of careful consideration. Of the men whose names head this chapter, pre-eminence is due, for various reasons, to Jules Chéret, whose position, in the matter of poster-designing, is quite without parallel.

It may be that men of rarer, of more fascinating, talent have now and again devoted themselves to the affiche; but none of them can compare with Chéret in the magnitude and curiosity of his achievement. Many have produced charming wall pictures: nobody, save Chéret, has made an emphatic mark on the aspect of a metropolis. Paris, without its Chérets, would be Paris without one of its most pronounced

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20 represented with a grotesqueness which would certainly have astonished Cervantes himself. Of a similar kind is the "Nains Célèbres," by E. de Beaumont. An illustrated poster of a kind utterly different to the one last discussed is by T. H. Frère. It was designed for the advertisement of a work entitled "La Touraine," by Stanislas Bellanger de Tours. Under no circumstances should one overlook an affiche of about the same period on account of the great personality of its designer. It is very generally admitted that the name of Edouard Manet is one of the greatest in the history of modern painting. It would indeed be difficult to over-estimate the extent of his influence on the pictorial art of the day. The poster reproduced in these pages is not unworthy his great talent. It is curious to notice that Manet and Fred. Walker, an English artist of about the same time, as to whose genius all are agreed, should have been at one in their endeavour to make the illustrated poster artistic as well as merely pictorial.

I have not attempted to deal with any save the most prominent of the great number of French designers who took part in the poster movement during the fifties. Their names and the titles of some of their works will be found in the first catalogue of M. Ed. Sagot, and valuable criticism is contained in the pages of M. Maindron.

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Rh a monstrous dwarf holding a lantern, a crouching dragon, and an immense notice-board. An affiche which is, perhaps, of

even more general interest, is one done for an illustrated edition of "Don Quichotte," in which the very perfect, gentle knight is

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18 reproduced here, save that they are included in the collection of the British Museum. An illustrated poster very characteristic of

its period, insomuch as it is intensely grotesque, is the "Voyage ou il vous plaira," by Tony Johannot. Its central figures are

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Rh date are several interesting posters by Grandville. Amongst them are "Les Metamorphoses du Jour" (of which a number

of pigs in different costumes is the main feature), "Des Animaux," "Ma Tante," "Petit Misère," and "St. Helène." Of the two latter I need say nothing, since they are

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16 E. Marco de S. Hilaire, illustrated by Bertrand, a poster (which was, perhaps, an enlargement of the cover) exists. It is a very

jingo affair, representing the French emperor standing on the globe with the imperial eagle of France at his feet. Of a little later

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14 Among the posters which he designed, one of the most characteristic is the "Œuvres Choisis." The original is extremely rare,

but a copy exists in a folio volume in the British Museum, in which one or two other posters by Gavarni will be found. For the "Almanach Imperial, 1846," by

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Rh manner which is patronizing rather than genuinely appreciative. It may be that his

savage and grotesque point of view discounts his merits as an artist. His power and originality, however, few will deny.

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12 dated 1837. The year following, Raffet brought out his "Napoléon de Norvins." This work is signed as well as dated. Raffet, in addition to the "Napoléon de Norvins," designed two more posters dealing with the career of the great emperor as well as the history of Algeria. Very soon after comes an important affiche, "Le Prado," by Eugène Gauché, and from that time the artistic poster became an established institution.

It may be fairly stated that the direct cause of the artistic poster in France was the illustrated book. The illustrated book, issued in weekly or monthly numbers, has always appealed keenly to the French, and it is usual to give the first number for nothing to all who care to ask for it. The illustrators of these books were very frequently induced by the publishers of them to do a poster advertising the edition of the works they had illustrated. Sometimes one of the illustrations in the book was merely enlarged and lithographed, but more generally the artist made a special design. Perhaps, at the time, the most widely known among French producers of the affiche illustré was Gavarni. The vogue for the works of this eminent illustrator and satirist is perhaps not so great as it was twenty years ago. At all events, the value of his works is not nearly so great as it was then, and it has become usual to talk of him in a

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we have seen, the idea of the poster, and even of the pictorial poster, is an extremely ancient one, but it is only at the commencement of the present century that distinguished designers deliberately attempted to make the pictorial poster a work of art. The few posters, at once pictorial and artistic, which are of earlier date than the time in question, are artistic by accident rather than by deliberate intention. So early, however, as the year 1836, we find a really distinguished French artist, Lalance, producing a poster. Lalance was, perhaps, the pioneer of pioneers, and his advertisement for the book, "Comment Meurent Les Femmes," if not of great artistic interest, cannot be overlooked in any book dealing with the history of art as applied to the poster. Only a few copies exist. Immediately succeeding him, we have Célestin Nanteuil engaged in producing an advertisement for an edition of "Robert Macaire,"

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570 entertainments than he professed to be. "I met him," says Sir Walter Scott (Memoirs of the Life, etc., 1838, ii. 167), "frequently in society.... Some very agreeable parties I can recollect, particularly one at Sir George Beaumont's, where the amiable landlord had assembled some persons distinguished for talent. Of these I need only mention the late Sir Humphry Davy.... Mr. Richard Sharpe and Mr. Rogers were also present."

Again, Miss Berry, in her Journal (1866, iii. 49) records, May 8, 1815, that "Lord and Lady Byron persuaded me to go with them to Miss [Lydia] White (vide post, p. 587). Never have I seen a more imposing convocation of ladies arranged in a circle than when we entered ... Lord Byron brought me home. He stayed to supper." If he did not affect "your blue-bottles," he was on intimate terms with Madame de Staël, "the Begum of Literature," as Moore called her; with the Contessa d'Albrizzi (the De Staël of Italy); with Mrs. Wilmot, the inspirer of "She walks in beauty like the night;" with Mrs. Shelley; with Lady Blessington. Moreover, to say nothing of his "mathematical wife," who was as "blue as ether," the Countess Guiccioli could not only read and "inwardly digest" Corinna (see letter to Moore, January 2, 1820), but knew the Divina Commedia by heart, and was a critic as well as an inspirer of her lover's poetry.

If it is difficult to assign a reason or occasion for the composition of The Blues it is a harder, perhaps an impossible, task to identify all the dramatis personæ. Botherby, Lady Bluemount, and Miss Diddle are, obviously, Sotheby, Lady Beaumont, and Lydia White. Scamp the Lecturer may be Hazlitt, who had incurred Byron's displeasure by commenting on his various and varying estimates of Napoleon (see Lectures on the English Poets, 1818, p. 304, and Don Juan, Canto I. stanza ii. line 7, note (to Buonaparte). Inkel seems to be meant for Byron himself, and Tracy, a friend, not a Lake poet, for Moore. Sir Richard and Lady Bluebottle may possibly symbolize Lord and Lady Holland; and Miss Lilac is, certainly, Miss Milbanke, the "Annabella" of Byron's courtship, not the "moral Clytemnestra" of his marriage and separation.

The Blues was published anonymously in the third number of the Liberal, which appeared April 26, 1823, The "Eclogue" was not attributed to Byron, and met with greater contempt than it deserved. In the Noctes Ambrosianæ (Blackwood's Edinburgh Magazine, May, 1823, vol. xiii. p. 607), the third number of the Liberal is dismissed with the remark, "The last Number contains not one line


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Rh of Byron's! Thank God! he has seen his error, and kicked them out." Brief but contemptuous notices appeared in the Literary Chronicle, April 26, and the Literary Gazettte, May 3, 1823; while a short-lived periodical, named the Literary Register (May 3, quoted at length in John Bull, May 4, 1823), implies that the author (i.e. Leigh Hunt) would be better qualified to "catch the manners" of Lisson Grove than of May Fair. It is possible that this was the "last straw," and that the reception of The Blues hastened Byron's determination to part company with the profitless and ill-omened Liberal.


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 A LITERARY ECLOGUE.

ECLOGUE THE FIRST.

London.—Before the Door of a Lecture Room.

Enter, meeting.

But the benches are crammed, like a garden in flower.

With the pride of our belles, who have made it the fashion;

So, instead of "beaux arts," we may say "la belle passion"

For learning, which lately has taken the lead in

The world, and set all the fine gentlemen reading.

With studying to study your new publications.


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Rh|171}} in her social life, have been favourite subjects of the designers of posters. It has always been held that the career of an actor, in consideration of its evanescence, is not

without a certain pathos. It is true that we remember, through the gossip of their friends, Garrick and Mrs. Siddons, Talma and Rachel, but even these are uncertain

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Rh out meaning. Boutet de Monvel has, I believe, produced only three posters. Two of them are among the most charming things seen on the Paris hoardings for

many a long day. Both of these are comparatively small. That which is earlier in date, "Petite Poucette," was originally designed as a cover for a piece of music,

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the picture poster was an incident of the ancient civilizations of China and Japan goes without saying. The scope, however, of this book does not embrace the Far East; the illustrated placard in the Orient would, indeed, be a subject in itself. In the matter of applied art it is difficult to conceive anything which the Chinese and the Japanese have not attempted. They seem, from the earliest days, to have been consumed with a passion for decoration; nothing which by any chance admitted of ornament was left underrated. It behoves the societies which are formed for the purpose of illustrating the artistic antiquities of these wonderful countries to concern themselves with the dawn and history of the pictorial poster in the East. Certain it is that the illustrated advertisement abounded, as it abounds today, in the cities of both the nations now being discussed. It is, indeed, found in the less advanced civilization of Burma, and of

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328 the various principalities which form our Indian Empire. To pass from Asia to Spain is to travel a long way. In Spain, at the present moment, the illustrated placard is receiving no small attention at the hands of artists who, however discouraged and ill-paid, are determined to do all that in them lies to raise the country which produced Murillo to the position she once held among art-producing nations. A recent writer in the "Sketch" grows enthusiastic over the Spanish affiche. "Spanish posters," he tells us, "are a delight. Well drawn, vividly but truly coloured, and perfectly printed, they shine down from walls and hoardings, attracting all passers-by. They depict the glories of coming fairs and bull-fights, and are couched in terms calculated to draw money from a stone. The announcement that a famous matador will kill, or assist to kill, Seis Escogidos Toros, throws the Spanish reader into a state of frenzy. Not infrequently some incident is depicted with frank realism. A bull standing over a dead horse gives an opportunity to the artist to draw the unfortunate horse disembowelled and lying on blood-stained sand, while the bull's hide shows the marks of the lance-thrusts, and his horns are likewise stained with blood. Colour-printing is so good in these regions of perpetual sunlight that nearly every detail of a matador's costume can be given. The poster artists are splendid when they depict

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Rh movement; they are satisfactory in their purely decorative work, but figures in repose are apt to become 'woodeny.' In point of colour, Spain beats France; and as France is so much in advance of England, it scarcely needs a Euclid to demonstrate that English posters cannot be compared to those of Spain. The latter exhibit at times an admirable sense of distance and proportion, which serves to show that their designers learnt to draw before they began to paint." The four examples reproduced here will serve to indicate the type of Spanish poster most frequently met with. Whether Spain, in the matter of the pictorial placard, is in advance of France or not, is a question of taste. However brilliant the colour of the Spanish affiche, the design seems to me to lack boldness. Take, for example, the "Gran Feria de Cordoba, 1895;" in this case the whole thing appears to be a series of elaborate details rather than a bold and impressive design. The poster in Spain, however, is rapidly becoming of interest, dealing as it does with fascinating and essentially picturesque subjects. It is difficult to obtain exact information concerning the artists who design posters in Spain; the examples which I reproduce here, I cannot attribute to anybody with any degree of certainty.

The Teutonic temperament is in no sense akin to the Spanish, and the pictorial posters

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340 of Germany are utterly unlike those of Spain. For the most part the Germans have, in the past, been addicted to elaborate and often admirably-executed lithographs, such, for instance, as that done by Ernest Klint for the Musical and Theatrical Exhibition held at Vienna in 1892. A new movement is, it appears, making itself conspicuous just now. The younger generation of German designers seem to be as anxious to experiment in the making of posters as those of France and England. Joseph Sattler, a designer of considerable originality and great dexterity, who has studied Albrecht Dürer with great advantage to his own work, has designed a very curious little window bill to advertise "Pan." It is reproduced here, and its strange individuality, its ingenuity, will not fail to make an impression upon those who look at it closely. The lettering is devised in an extraordinary way, and Sattler may be congratulated on the results of an interesting experiment. Very different to the work of Sattler is that of Franz Stück. This represents a classical head in mosaic, and advertises an exhibition of the Munich Secessionists, a body of experimental painters and designers of rapidly-growing importance. The tendency of the illustrated poster in Austria is much the same as it is in Germany. Some admirable bills have been designed in Italy. Of its particular kind, I have seen few things better than a large and

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Rh sombre poster to advertise Verdi's "Otello." At the same time, the Italian posters are not of a very distinctive type, nor does Italian taste concerning them appear to be very fastidious. The crude, enormous, and vulgar advertisements for Buffalo Bill's exhibition created quite a sensation in Rome when that redoubtable personage deigned to visit the most august of European capitals. The modern Romans forgot their Michael Angelo in the ecstasy induced by the latest enormity of the American colour printer. It may be noted that some of the posters done for the Italian railway companies are bright and gay as an Italian summer itself. The pictorial poster would not seem to have taken a great hold on Russia, nor, judging from a comparatively recent visit, has it made much headway in Scandinavia. In Holland, the present artistic vitality and enterprise of which are at once so astonishing and gratifying, one meets with very few posters of conspicuous merit. In Belgium, on the other hand, there are signs that the poster movement has affected not a few artists of distinction. The placard by Evenepoel, designed to advertise a publication in connection with the Antwerp Exhibition, is excellent in colour and pattern and most decidedly original, owing very little to any foreign examples. Duyck's "Cortège des Fleurs (Ville de Bruxelles)" is decorative and pleasing. This artist has also designed another placard to advertise Spa (Ferme de

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352 Frahinfaz). To Delville we owe a curious little placard, in the Symbolist manner, which advertised "Pour l'art, Ier exposition à Bruxelles;" the advertisement for the second exhibition was the work of Ottevaere. A fantastic and rather picturesque poster was done to announce one of the annual exhibitions of "La Libre Esthetique." It represents a strange-looking human being standing among flowers, under a lurid sky, and holding in his hands a decorative scroll, upon which the legend is inscribed. Amongst other interesting Belgian placards are the "Velodrome Bruxellois" by G. Gaudy, the "Paul Hankar" by A. Crespin, and a poster in monochrome in imitation of a bas-relief bearing the legend "La plus noble force sociale est le Droit." All of these are reproduced here. It may be noted in conclusion that most of the Belgian posters show strong signs of French influence.

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360 material assistance to English collectors. In fact;, to some extent, he has called the English collector into existence.

As an example of the price of the poster of which the interest is archaeological rather than artistic, one may instance a placard, dated the 20th of February, 1649, which deals with the opening and closing of the gates of Paris. Its only claim to be considered pictorial consists in the fact; that it is ornamented with a woodcut representing the arms of the city. Many similar productions were executed in relation to London and to other English towns. The price asked for it three or four years ago was thirty francs. Interesting from another point of view are the illustrated posters which have heralded new books, or new editions of books, by great writers. Three of these, relating to the works of Balzac, and including one with woodcuts by Meissonier and Tony Johannot, are valued at twelve francs.

It is time, however, to pass from pictorial posters, which are interesting on account of age or literary association, to those which derive their value from their qualities as works of art. In this class some of the highest prices are obtained by the French artists who, for the most part, were the contemporaries, or immediate successors, of Gavarni. The best posters of this master are extremely difficult to procure, and examples in a fine state realize large sums.

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Rh For the "Œuvres Choisis" bill, together with that designed to advertise an illustrated edition of Balzac's "Philosophie de la Vie Conjugale," something over a hundred francs is asked, while less important works can be obtained for five and-twenty or thirty francs. It goes without saying that the smallest tear or other injury, however neatly and skilfully repaired, heavily discounts the value of works by Gavarni and the men of his time; but even slightly damaged examples are eagerly sought for, as it is almost impossible to obtain perfect ones. Of the productions of Edouard de Beaumont, two of the rarest are the "Nains Célèbres," already mentioned, and the "Diable Amoureux." For an exceptionally fine proof of the former, as much as a hundred francs has been asked, while the latter, which is very rare, commands about sixty francs. Sums scarcely less formidable are given for the better posters of Grandville, and fifty francs for a good Tony Johannot is not by any means an exceptional price, although unimportant specimens of his work may be picked up in Paris for a few sous. The excursions of Gustave Doré into the art of the poster were very few. His most important work was perhaps the "Légende du Juif Errant," a fine proof of which realizes sixty francs or more. Posters by Vivant Beaucé, Castelli, Cham, Victor

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362 Coindre, Charles Devrits, H. Emy, A. Farcy, and others of the same period, for the most part command sums comparatively small; the best productions of Bertall, Calame, Monnier, and C. Nanteuil, on the other hand, are only a little less expensive than those of Gavarni and the more distinguished designers of his time.

Of posters by designers still living, those of Chéret have been most assiduously collected. It is probable that a complete set of his works does not exist; even one which is fairly representative, and includes some of his earlier and rarer affiches, is extremely valuable. In the Sagot catalogue of 1891, over five hundred and fifty posters by Chéret are described, and of these no less than eighty are priced at twenty francs or more. Since the publication of the catalogue, their value has steadily increased, and it is uncertain if many of them can now be procured at all. The collector of modest means need not, however, regret that the older and rarer examples of Chéret are beyond his reach, for the artist's more recent posters are the best that he has accomplished. For a comparatively small outlay, one may secure the flower of Chéret's work. Amongst the most valuable of his posters are two, of very large size, designed to advertise some Arabs who appeared with the Paris Hippodrome when it visited London in 1887. The price asked for

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Rh them is over two pounds. They seem to have escaped the attention of French collectors from the fad; that they were posted exclusively in London. The set of four

Loie Fuller bills, in all of which the design is the same but the colouring different, is worth between thirty and forty shillings. These designs are among the most daring

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364 and characteristic specimens of Chéret's amazing colour, and as they only measure forty-nine by thirty-three inches, they are of manageable size, and should find their way into the portfolio of every collector. The set of unlettered decorative panels which were described in an earlier part of the book, is at present sold by all dealers for five pounds. It goes without saying that proofs before letters, or prints on special paper, of the posters of Chéret, or of nearly any other artist, are much more valuable than ordinary copies.

Most of the posters of other living French artists may still be procured for a few shillings, but it is extremely improbable that such a state of things will long continue to be the case. Already examples by men of the modern school, such as Toulouse-Lautrec, Anquetin, Bonnard, Steinlen, and Ibels, are in great demand, and collectors should use the present opportunity to procure a series of these curiously interesting designs before the prices rise. Even now, Lautrec's first attempt, "Le Pendu," has become rarissime, and is valued at something over a sovereign. What has happened in this case will doubtless happen in the case of "La Reine de Joie," "Jane Avril," and Lautrec's other posters. The designs of Grasset are rapidly taking their place by the side of those of Chéret in the estimation of collectors, with

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Rh the result that several of them command large prices. Thus the "Librairie Romantique," which was offered in 1891 for three francs, was priced by the same dealer in November, 1894, at twenty. What is going on in the case of Chéret, Grasset, and Lautrec, is going on, though it may be somewhat less rapidly, in the case of those other artists who have assisted to make the French affiche the charming and artistic thing it is.

The posters of those artists who were the pioneers of the artistic poster movement in England are extremely rare. They worked in the days before the English collector existed, and any copies of their designs not actually posted, probably fell into the hands of the waste-paper dealer. I have been unable to trace any copies of the advertisement done by Fred Walker for "The Woman in White," but the original design has been recently exhibited in London, and the price put upon it by its owners is seventy guineas. Copies of Mr. Walter Crane's "Hippodrome" bill are extremely rare, as are those designed by Professor Herkomer for the "Magazine of Art," "Black and White," and the exhibition of his own works. Turning to the younger men, it is interesting to note that Mr. Dudley Hardy's "Yellow Girl" sells in Paris for twenty francs, the large "Gaiety Girl" for half as much, and the smaller bills for the same play for five francs. The first poster which

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366 this artist did for "St. Paul's" is very difficult to meet with; it will doubtless be among the most valuable of Mr. Hardy's designs. Mr. Beardsley's "Avenue" poster is quoted neither by Mr. Bella nor M. Sagot, and it may therefore be concluded that it is almost impossible to obtain it. The other posters of this designer are steadily increasing in value, and are eagerly sought for by collectors on both sides of the Channel. Mr. Greiffenhagen’s "Pall Mall" poster, which has met with much success abroad, is worth about half a sovereign. The dainty little bill which Mr. Wilson Steer did for the exhibition of his paintings at the Goupil Gallery fetches about the same amount, and is rapidly becoming scarce. It is pleasant to think that the early efforts of English artists are welcomed by French collectors as enthusiastically as the masterpieces of French artists by collectors in England.

The poster is obviously difficult to collect, because of its size. Not all of us are proprietors of such an immensity as the Chicago Exhibition. Most of us, on the other hand, could paper a room with posters of Lautrec alone. Everybody, however, can put the smaller bills into a portfolio, while the larger ones may be mounted as ordinary school maps. The collecting of pictorial posters needs nothing more than a little heroism.

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 Rh In the foregoing chapters, I have attempted to outline the history of art as applied to the poster, and to give an account of the pictorial placard in the present state of its development. The number of names, eminent in the history of various modern arts and crafts, who have applied themselves to the production of the pictorial poster seems to me to justify the publication of this book. The fact that men so highly endowed as Chéret and Lautrec deliberately choose to appeal to the public chiefly by means of the affiche, well knowing that their gallery is the common hoarding, places the illustrated poster outside the bounds of ridicule. A modern art critic of high repute and of enormous energy has assured us that, in these days, to neglect the poster is mere folly on the part of those who care for the application of taste and skill to the objects of everyday life. We are apt to talk of artistic periods; periods when the most ordinary objects had an aesthetic character of their own. It seems to me to be full of promise for the future that the hoarding should be among the first necessities of modern civilization to be rendered charming by the skill and imagination of the artist. Art is generally supposed to be inimical to commerce, and commerce inimical to art, yet here we have the two combining to the advantage of both, and succeeding in making the beautiful an incident of the necessary.

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Translation:Ayil Meshulash

Contents
Introduction I

Introduction II

 * Discourse 1: General Principles of Classical Geometry (1-28)

 * Discourse 2: Ratios and Proportions (18-47)

 * Discourse 3: Geometric Theorems (48-80)

 * Discourse 4: Trigonometry and the Measurement of Triangles (81-139)

 * Discourse 5: The Measurement of Circles I (140-162)

 * Discourse 6: The Measurement of Circles II: Tangents and Secants (163-189)

 * Discourse 7: Astronomy (190-213)

 * Discourse 8: Surveying (214-312)

Discourse 9

Discourse 10

Discourse 11

איל משולש

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Rh make a respectful obeisance, which the House was pleased to return, cheering and clapping its hands) he, the Hon. Premier, had pleasure in assuring his hon. friends and colleagues that Mr. Ubertus had it in his power to give them some valuable information, when the Bill for building the new Pandapolis should be laid on the table. Amongst other wonderful things he could tell them that not very far from the Great Lake the coaches went along without horses, the vapour of boiling water making the wheels go round. (Loud laughter and ironical cheers.)

To cut my story as short as possible, and confine it within reasonable dimensions, I shall omit many of the very remarkable speeches which I heard on that wonderful day (or night). The general tone of the House was decidedly in favour of the Bill now laid on the table—that for building the new city. I pass by the etiquette of Parliamentary practice, not being very well acquainted with it. The different speakers enlarged with extraordinary eloquence on the new pleasures and conveniences awaiting them in their grand residences in one of the most salubrious and beautiful countries in the world. They contrasted them with their gloomy, though dazzling, abodes in the underground region, of which they were all heartily sick and tired, and where they saw nothing but lamp, lamp, night and day. There they would have the glorious light of the sun, and almost an ocean of delicious water, and exquisite fish, fat beef, excellent mutton, and indescribable bacon, to say nothing of fowls and hog-puddings, for which they were all constantly and miserably dying. They would be near their dear relatives and friends in the flesh, with whom they could maintain eternal and delightful intercourse; and when those friends were obliged to resign their fleshly dwellings, they would be close at hand to conduct their emancipated ghosts into the fine palaces prepared for them


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220 on the shores of the Great Lake. 'And who,' shouted one impassioned orator—I think he was the member for a famous rotten borough called Lickdust—'and who, what monarch upon the aqueous and adamantine globe, be he or she whom he or she may, shall be so great, so rich, so magnificent, so exquisitely beautiful, and so enormously powerful as the Princess, the Queen, the Empress of that enchanting city, our lovely and voluptuous Bellagranda?'

This complimentary outburst was received with the wildest enthusiasm, and fairly brought down and brought up the House. Every member was instantly on his legs. Five hundred throats yelled, and roared, and cheered with delight: a thousand dusky paws waved frantically in the air. Five hundred tails flourished triumphantly round as many horned heads. The fair object of all this adulation, whatever her inward emotions might have been, took but little notice of it. She did not rise from her throne, but merely inclined her head slightly, and turning round, cast on me a stealthy look of triumph, as if she would say: 'What think you of this?'

When order was restored, several members gave notice that they intended to bring in the Bills which each one had in charge, and lay them on the table of this House. The titles, or objects of some of them I distinctly remember. Extraordinary as it may appear, they all had reference, more or less, to our own pretty island of Tasmania, and embraced many wild and chimerical schemes. To avoid prolixity, I shall only acquaint my readers with two of them. The first was for borrowing fifty millions of pounds sterling to enable men and women to burrow, like rabbits, under the earth, especially of Tasmania, and hide themselves from persecutors and slanderers whenever they pleased; and the other, less ambitious but more outrageous, to borrow