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-The Project Gutenberg eBook of International cartoons of the War, by
-H. Pearl Adam
-
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org. If you are not located in the United States, you
-will have to check the laws of the country where you are located before
-using this eBook.
-
-Title: International cartoons of the War
-
-Editor: H. Pearl Adam
-
-Release Date: October 7, 2022 [eBook #69107]
-
-Language: English
-
-Produced by: Brian Coe, Brian Wilsden and the Online Distributed
-             Proofreading Team at https://www.pgdp.net (This file was
-             produced from images generously made available by The
-             Internet Archive)
-
-*** START OF THE PROJECT GUTENBERG EBOOK INTERNATIONAL CARTOONS OF THE
-WAR ***
-
-  Transcriber's Note: Italic text is denoted by _underscores_.
-
-
-
-
-  INTERNATIONAL CARTOONS
-  OF THE WAR
-
-
-
-
-[Illustration: PUNCH, OR THE LONDON CHARIVARI.—AUGUST 12, 1914.
-
-  BRAVO, BELGIUM!]
-
-
-
-
-  INTERNATIONAL CARTOONS
-  OF THE WAR
-
-  SELECTED WITH AN INTRODUCTION
-
-  _by_ H. PEARL ADAM
-
-  [Illustration]
-
-  E. P. DUTTON & CO.
-  681 FIFTH AVENUE
-  NEW YORK
-
-
-
-
-  The design on the Cover is reproduced from the Colour-Plate—Rheims
-  Cathedral—by Marcel Gaillard. That on the Title-page is reprinted by
-  permission from _Le Mot_, Paris.
-
-
-
-
-  International Cartoons of the War
-
-
-
-
-  INTRODUCTION
-
-
-THE HISTORIAN who, a couple of centuries hence, tries to get at the
-real kernel of the great War, will find himself overwhelmed with
-material, buried under evidence, like the great authority on Penguinia.
-Every doubtful point will be clearly and irrefutably decided for him
-in at least seven different ways. A burning sense of conviction may
-be his, but he will not be sure which conviction it is. The lot of
-the historian has changed for the worse since the days of Herodotus.
-It no longer suffices for an account of a battle to be possible if
-not probable, marvellous if not possible, for it to rank as history;
-mankind chose to start on the thorny quest of Truth, and is now
-beginning to see that in every affair there are exactly as many Truths
-as there are actors.
-
-When the war broke out in August, 1914, the curious art of conveying
-a knowledge of thoughts and fact between two or more human organisms,
-the only art or appliance which man has really invented without
-referring to Nature—the art of writing—was resorted to on every
-hand. An unprecedented crop of war books began to sprout from the
-blood-fertilized fields of Flanders. Men might safely exclaim: "Mine
-enemy hath written a book"; they had perforce to add: "And so hath
-each of my friends." They poured from the Press, little books and big,
-sober and hysterical, speculative and emotional. After them came the
-sedate polychromatic procession of Government literature. Along with
-them flowed the swift and multitudinous efforts of journalism. And in
-a very short time began those strange enterprises, at once droll and
-portentous, the Serial Histories of the War.
-
-What the great historian will make of all this when his time comes to
-correlate it, it is difficult to say. If he feel conscientiously bound
-to consult contemporary evidence, there is little hope for him, unless
-he takes the bold step of writing a historical novel out of his inner
-consciousness instead.
-
-But there will be at least one unfailing guide for him. The very
-increase in mechanical processes which contributes to his undoing in
-the matter of books, will come to his aid with regard to pictures.
-Every great event since the invention of mechanical reproductive
-processes has produced its due reflection in the mirror of the artist.
-The crude old broadsheets told their tale of the Napoleonic wars
-more vividly than any historian could; and the present struggle,
-while it slew nearly every other art for the time being, worked up to
-fever-pitch the output of pictorial comment. In France, where this
-form of expression has always been popular, an unexampled flood of
-cartoon and caricature poured from artists both celebrated and unknown.
-Other countries followed suit, in proportion to their national liking
-for prints; and the evidence supplied by this mass of international
-material is as direct and reliable as anyone need demand.
-
-
-  II.
-
-THE VALUE of the contemporary cartoon is very great; for it deals
-almost entirely with what people are feeling, in distinction to what
-they are doing. It uses their deeds as a mere background to their
-emotions, and it is only the emotions which count. What the soldier
-feels, the sailor, the mother at home, the man in the street—these
-are the really important things, for it is these things which are the
-causes of events. If enough ordinary people want peace at any price,
-the Governments of all the States in the world will be powerless to
-wage war one moment longer; if enough ordinary people consider their
-honour involved in fighting to a finish, emperors and kings and
-presidents and trade unions and the N.C.C. will united be unable to
-break the smallest twig from the olive.
-
-The material of the cartoonist is drawn from sources useless to the
-writer, or at best, of only ephemeral utility. A chance-heard remark,
-the expression of a face seen in the street, the glances turned on a
-wounded man as he hobbles by on his stick, the ineptitude of a comment
-on the day's news—these are the media by which the cartoonist conveys
-his view of what his country feels. And he has this advantage over the
-writer—that a well-done drawing is a volume in itself; in one glance
-the eye has absorbed the background which a tedious explanation is
-necessary to convey in words, and is free to take in the essential
-meaning of the drawing. A picture appeals as directly to the eye as
-does a sunset, or as food to the stomach, or a soft bed to the tired
-body. It uses a natural sense, not a cultivated faculty.
-
-Cartoons are meant for the man in the street; they are meant to tell
-a story, to convey some feeling or idea rather than to be an artistic
-rendering of an object or collection of objects. Therefore artistic
-canons apply to them in this limited sense—that while the great
-cartoonist may and must be as big an artist as he can, he must first
-of all remember that he has to explain himself and his subjects, or
-he ceases to be a cartoonist at all. A Futurist Forain, a Cubist
-Raemaekers, are inconceivable because they would be quite useless as
-cartoonists, whatever they were as artists.
-
-The artistic value of the cartoons issued in all countries—and in
-some cases it is very great—is a matter for future discussion. It is
-of no present importance. What is of some actual value is a comparison
-between the cartoons of the various countries, for they show with
-unfailing accuracy the trend of public opinion. From the human point of
-view this comparison is invaluable to the student of humanity in the
-present upheaval. From the cheap postcard to the twopenny broadsheet,
-from the most commonplace poster to the finest lithograph, each has
-its place. To collect these things is not only very interesting, but
-most enlightening; the national spirit and the national moods of each
-country are unmistakably portrayed, and the crudest production takes
-rank with the best as a human document.
-
-
-  III.
-
-THE GOOD cause has always produced the good cartoonist—witness the
-Napoleonic wars, when England rejoiced in Gillray and Rowlandson, while
-France had no topical draughtsman of any outstanding merit. So far
-as one can tell, this is very much the case with the present war. At
-any rate, the good cause has produced its good men, and, judging by
-what one can manage to see of German caricature, they have no mind of
-any large calibre at work on cartoons. This is, perhaps, because the
-greater part of the German drawings I have seen are intended to rouse
-hatred, scorn, and anger. Clever they certainly are, but too many of
-them are spiritually debased. The best are those directed against
-England, which are dedicated to hatred, a passion greater than scorn or
-anger, and consequently more elevating in its effects. Otherwise the
-German cartoonist has not distinguished himself, in the sense that the
-war has not raised him above himself.
-
-This can certainly not be said of France, where a crowd of new men have
-appeared, and where the well-known draughtsmen of pre-war days have
-been roused to unprecedented excellence by their emotions. At least
-one of them, M. Forain, has made history with his pencil. There came
-a time, when the first excitement had died away, when the victory of
-the Marne had for months been followed by stagnation—stagnation in
-victory, progress in casualties—a time when no news ever came, when
-Paris was left in a kind of twilight of suspense and endurance, when
-the economic pinch began to be acutely felt, when bereaved wives and
-mothers were told in the morning that their loved ones "were gloriously
-dead for their country," and read at night that "there is nothing to
-report on the front; the night was calm." And for just a moment the
-human need and sorrow of the individual cried louder than the pride
-of country. "It's very long, this war!" "What I want to know is, how
-much more do they expect us to endure?" "Could defeat be worse than
-war?" and even the sinister "if we win," were phrases that crept into
-conversation. It was hardly to be wondered at. France had expended so
-much energy on her magnificent effort in August, '14, when her very
-babies bore themselves proudly and with self-control, that she was
-bound to feel the reaction.
-
-It did not last long, and it was Forain who swept it away by a dose
-of strong tonic. He drew two French privates in a trench, snow and
-hail and shrapnel raining round them, in conditions as bad as the
-most anxious mother's nightmare could have pictured them. And one
-says: "If only they hold out!" The other, with a look of great
-surprise, enquires: "Who?" "Those civilians!" In a week that drawing
-was historic, and civilian France, with a blush and a laugh, had
-pulled herself together. M. Forain does not care to have his drawings
-reproduced, or this famous cartoon would have been included in this
-book.
-
-Nor, unfortunately, will M. Jean Véber have his cartoons reproduced
-till after the war, which deprives us of that Napoleon of his, standing
-on his own tomb and crying "Vive l'Angleterre," which created such a
-stir on both sides of the Channel. "La Brûte est Lâchée," by the same
-artist, is one of the most impressive drawings France has produced
-since the war. Published so early as September, '14, it represents the
-Prussian monster, madness and fury in his face, starting out like an
-unleashed animal on his career of destruction.
-
-This print was the first to indicate the enormous boom in war-drawings
-which has characterized Paris. Published at 5 francs, it was within a
-few months unobtainable under 500. Collectors took the hint, and the
-drawings of Forain, Steinlen, and other well-known artists were eagerly
-sought after, and rose to very high premiums. The character of the
-prints changed; with the exception of M. Véber's series, the greater
-part of the drawings published outside magazines and newspapers had
-been cheap, ranging from threepence to two francs each, and including
-some publications of deliberately naïve construction and crude colours,
-others which achieved without deliberation a startling likeness to the
-old broadsheets with their childlike simplicity. Postcards and prints
-fairly flooded Paris in the first few months of the war, but since the
-collector appeared on the scene in his dozens the cheaper publications
-have been displaced by more ambitious works that range up to a hundred
-francs each, and have crowded out the smaller artist, the smaller
-print-seller, and the smaller collector.
-
-This variety of output has been increased by the publication of
-many illustrated war-papers in Paris, such as _Le Mot_, _l'Europe
-Anti-Prussienne_, _l'Anti-Boche_, _A la Baïonnette_, war editions of
-already established papers, and a crop of crude halfpenny papers,
-printed after the Epinal manner, and greatly used by children and the
-very low classes. A coloured history of the war, of extraordinary
-naïveté, issued in penny sheets, was intended for use in schools, but
-achieved an additional success in hospitals, where the thin sheet was
-easily held and folded, and the incidents depicted roused the liveliest
-interest among the wounded.
-
-In the whole of this output it is difficult to find any sign of
-wavering in the national spirit of France. Once the civilians had
-decided to hold out, there could be no other stumbling-block.
-Naturally, in such a range of drawings, there are many that drop into
-brutality on the one hand, vulgarity on the other; but the overwhelming
-majority breathe a spirit of calm, determined endurance, with a ready
-laugh for hardships, a sly dig at politicians, and no little irony at
-the expense of their own weaknesses and foibles. Very often, so often
-as to set the key for the whole, the note is heroic, sometimes grimly
-so. There is none of the splenetic fury of the German drawings about
-the majority of the French ones; the Germans are ridiculed and hated,
-it is true, but the spirit is more steady and less spiteful—it rests
-on an emotion which for forty-five years has been a religion to the
-Frenchman.
-
-The English cartoons are as different as possible from both the French
-and the German. We have no separately published prints, our postcards
-have been few, vulgar, and negligible; our cartoonists are really
-only offered the pages of newspapers and magazines in which to exert
-their influence over us. And there cannot be two questions as to that
-influence—it is the influence of good humour. The French mistake it
-sometimes for indifference, but the English know better. The Germans
-say they mistake it for frivolity, but they so foam at the mouth about
-it that one suspects them of glimpsing the spirit behind the smile. The
-grim note of Steinlen and Forain is almost wholly wanting from English
-cartoons. The Kaiser, who is a devil in France, is merely making an
-unholy fool of himself in England; the Crown-Prince, a mass of vice in
-Paris, is "an awful silly blighter" in London. Will Dyson, the young
-artist of whom Australia has such reason to be proud, is our grimmest
-product, and even he lets the Prussian off more easily than do the
-French artists. Because, after all, don't you know, we're going to
-thrash the brutes, but there's no need to make a fuss about it, hang it
-all. Let us have our pipe and our grin, and let us keep to those till
-the end. For the Lord's sake don't let us have any heroics—those are
-for doing, not for showing. That is the attitude which one finds over
-and over again in English drawings; not contempt of danger, so much as
-a serene determination to grin at it and have no fuss.
-
-_Punch_ has come out brilliantly in this particular. Allowed by
-tradition to have two heroic cartoons a week, the rest of his pages
-are dedicated to the god of laughter. Germany reads _Punch_ with
-stupefaction. What, we not only laugh at the Germans, we laugh more
-at the English! Extraordinary, sinister, effete, degenerate race! It
-is true, we laugh at ourselves far more than at anybody else—and
-very often it is for that painful but cogent reason, that we may not
-weep. Perhaps at the front they laugh wholeheartedly at _Punch_; at
-home it is a different laugh that greets Tommy in his imperturbable
-good-humour. In the midst of a hell of fire, Tommy says that what with
-the beastly Belgian tobacco and the blooming French matches, this'll
-be the death of him. Sitting on the edge of a trench which consists of
-nothing but mud and water, in a fearful downpour, he remarks that he
-pities the poor fellows at home—the London streets must be something
-awful! And on a dozen other occasions he has expressed that cheery soul
-of his, in a way as charming as it is moving.
-
-As for the Germans, perhaps Mr. Punch reached his happiest moment when
-he gave us the German family "enjoying its morning hate." A French
-paper copied that with enjoyment tinged with bewilderment, since the
-idiomatic "morning hate" was beyond the French editor, who published it
-merely as "a study of a German family at breakfast time". The Germans
-have not published it at all.
-
-Nothing more light-hearted and good-humoured than Mr. Heath Robinson's
-fantastic inventions (such as the Tatcho bomb) could be found—unless
-perhaps, in the inimitable "Big and Little Willie" of Mr. Haselden,
-which have given pleasure to countless people, at the front and at
-home, and have caused howls of Majestätsbeleidigungisch laughter in
-German trenches, when Tommy has been so kind as to throw a copy over.
-
-England has never taken cartoons so seriously as has France, nor has
-she a public for separate topical prints; but she has done as much as
-she can, for her war cartoons accurately express her mind, and that is
-their real function and constitutes their real value.
-
-Neutral countries have had to be careful in some ways; it is difficult
-to find any interesting war-prints or postcards on sale there. What
-there are are rather insipid, at any rate to the Allied mind. But in
-individual newspapers and periodicals the struggle has raged fiercely
-by pen and pencil, pro-Ally or pro-German. Mr. Robert Carter, for
-instance, in his drawings in the _New York Evening Sun_, has spoken
-with no uncertain voice, as one of his cartoons in this book will
-witness. Spain has had more pro-Ally cartoons than one might have
-expected, Scandinavia has been very discreet—Italy never was, even
-before she came in.
-
-Holland remains, and well has she shown that she still possesses
-that spirit of resistance to the oppressor which dictated the pages
-of her superb history. Small in size, in a geographical position of
-great danger, her economic interests very largely identified with the
-welfare of Germany, Holland might have been excused for holding her
-peace. Everyone knew that German influence was, and is, very important
-in Holland; that the Netherlands reek with German espionage, and that
-method of commercial penetration which is one of Prussia's most valued
-weapons. Yet none of these things sufficed to silence the Dutch love of
-liberty and hatred of oppression. A band of Dutch cartoonists, hot with
-indignation, took the bit between their teeth, and ran away with their
-pencils, their papers, their public, and, if their startled Government
-is right, very nearly with Dutch neutrality. Anyone who has watched
-Dutch drawings must have been impressed by the fire of the pro-Ally
-artists, Braakensiek, Albert Hahn, Peter van den Hem, and Lazrom.
-Neutrality is too pale for them.
-
-And, of course, there is Louis Raemaekers. Only a neutral could have
-done what he has done; but it might not have been done at all had not
-Raemaekers arisen with his accusing pencil. In his work the war takes
-on its right colour, as something far above international hatreds or
-the struggle of policies, far above even a battle for the welfare of
-peoples whose interests are opposed. It appears in its right aspect,
-as a spiritual conflict, more deadly, more earnest, more vital, than
-any revolution or reformation or war since that struggle in which
-proud Lucifer fell. This is every man's war, the world's war, the
-war of God and devil. And, taking this heroic view of it, Raemaekers
-has stepped into the rôle of Tragedy, which is "to arouse pity and
-terror, and the noble movements of the soul." His "Prisoners" and
-"Barbed Wire" (Plates XXII. and XXIII.) show well his detached, tragic
-quality. There are many of his drawings which are too dreadful to be
-contemplated for long—"Slow Gas Poisoning," the German thief trampling
-in blood that drops from his heavy sack, the professor and the devil
-leering delightedly into each other's eyes. But after such horrors
-one comes always back to the exquisite tenderness which is the real
-distinguishing characteristic of Raemaekers. The young German soldier
-who writes home that "our cemeteries now stretch nearly to the sea"
-is as tenderly drawn as are the widows of Belgium. The tenderness of
-strength is the heart of the tragic spirit, the heart that bleeds for
-suffering and weakness, the heart that grows hot for injustice and
-wrong. It is this spirit, with its heart of tenderness, that has made
-the fame of Raemaekers. It is not comfortable nor pleasant to be roused
-to the tragic sentiments, but it is right that we should; and had the
-Allies needed any reassurance as to the nature of the reason for which
-they fight, Raemaekers' work would have supplied it. The good cause
-has found its good artist, and he is all the stronger because he is a
-neutral. Like Truth in the cartoon with which this book closes, he has
-held up the mirror to the Prussian, and we can see, Germany can see,
-the whole world can see, what kind of soul is reflected therein.
-
-
-
-
-  ENGLISH CARTOONS
-
-
-I. The famous cartoon by F. H. Townsend, "Bravo Belgium," fitly
-  appears as the frontispiece to this book. It is reprinted from _Punch_
-  by permission of the Proprietors.
-
-
-II. REHABILITATED!
-
-  Germany (to her Professor):
-
-  "What if we do not fulfil our promises—the whole world must now
-  admiringly confess we are men of honour—we fulfil our threats!"
-
-  By Will Dyson. First published in _The Nation_, May 15, 1915.
-
-[Illustration: II.]
-
-
-III. AUDIENCE.
-
-  _Prussianism._ "... And Poets, Professors, Instructors of the Young,
-  let it be Your divine labour to quicken our Germany with a hate of
-  England so vast, so holy, so unappeasable, that WE need fear no more
-  the danger of her hating US."
-
-  By Will Dyson. First published in _The Nation_, May 8, 1915.
-
-[Illustration: III.]
-
-
-IV. THE BAFFLED BURGLAR.
-
-  _The Burglar_: "I've got the swag, but strafe that copper! I can't get
-  away with it, and there's no food in that beastly cupboard!"
-
-  By "F. C. G." First published in the _Westminster Gazette_, February
-  11, 1916.
-
-[Illustration: IV.]
-
-
-V. This very Haseldenian page speaks for itself.
-
-  By permission of the Editor of the _Daily Mirror_.
-
-[Illustration:
-  "I'M AN EAGLE!"
-
-  "I SAY I'M AN EAGLE!"
-
-  "DOES ANYONE DARE TO CONTRADICT ME?"
-
-  "I AM AN EAGLE!"
-
-  "I WILL BE AN EAGLE!"
-
-  "AREN'T I AN EAGLE?"
-
-  V.]
-
-
-VI. IMPERIALISMUS.
-
-  Under this laconic title Mr. E. J. Sullivan shows us a museum specimen
-  of that extinct monster "The German Eagle."
-
-  Reproduced from "The Kaiser's Garland," by permission of Mr. William
-  Heinemann.
-
-[Illustration: VI.]
-
-
-VII. Mr. W. Heath Robinson's well-known series entitled "Rejected by
-  the Inventions Board," is typical of the irresponsible sense of fun
-  which English People seem able to retain even in war-time. Here we
-  see an excellent idea put into action: "The Armoured Corn-Crusher for
-  treading on the Enemy's Toes."
-
-  Reproduced from _The Sketch_ of Jan. 5, 1916.
-
-[Illustration: VII.]
-
-
-
-
-  A NEW ZEALAND CARTOON
-
-
-VIII. This is what the _Auckland Observer_ thought of floating mines,
-  in the first few months of the war. Those were the days before
-  submarine warfare put even mines in the shade for wanton cruelty and
-  stupid destructiveness.
-
-[Illustration: VIII.]
-
-
-
-
-  ITALIAN CARTOONS
-
-
-IX. There were few pro-German cartoons in Italy, even before she
-  came in with the Allies. Now and then her artists took a cynical and
-  detached attitude towards the awful struggle in the north, but for the
-  most part their drawings left no doubt as to where their sympathies
-  lay, as may be judged by this and the two following cartoons. This
-  first is from the Turin _Numero_. Musini shows the Germans paving the
-  ruined streets of Flanders with the material most plentifully to hand.
-
-[Illustration: IX.]
-
-
-X. & XI. In these allegorical sketches, published by _l'Uomo di
-  Pietra_, of Milan, the artist pictures the results to Europe should
-  Germany and should the Allies win. Under the Prussian sword and helmet
-  the whole continent lies burning and bleeding; around the Phrygian cap
-  of liberty her merry and obviously well-nourished children play over
-  her prosperous lands, amid commerce-laden seas.
-
-[Illustration: X.]
-
-[Illustration: XI.]
-
-
-
-
-  TWO ARGENTINE DRAWINGS
-
-XII. & XIII. The Argentine is a long way off—further than
-  Washington—and might have been pardoned if she had looked with
-  detached philosophy upon the deeds of Germany. Her attitude, however,
-  leaves much to be desired from the point of view of Berlin. Whether as
-  a rat coveting the good Dutch cheese, or as "the Monster" taking what
-  he wants from helpless Belgium, the German does not cut a good figure
-  in the _Critica_, of Buenos-Ayres.
-
-[Illustration: XII.]
-
-[Illustration: XIII.]
-
-
-
-
-  AMERICAN CARTOONS
-
-
-XIV. The neutrality of these three drawings is distinctly open to
-  question. "The Order of the Iron Cross" is from _Life_, of New York.
-
-[Illustration: XIV.]
-
-
-XV. "The Hand of God," by Nelson Greene. One of the best known
-  American cartoons since the war.
-
-  From _Puck_, of New York.
-
-[Illustration: XV.]
-
-
-XVI. Mr. Robert Carter's drawings for the New York _Evening Sun_ have
-  acquired a reputation in Europe since the war. This is one of the
-  best, which appeared on January 18, 1916.
-
-  The Bear: "Glad to see you out again."
-  Kaiser: "I feel better myself!"
-
-[Illustration: XVI.]
-
-
-
-
-  A JAPANESE CARTOON
-
-
-XVII. "The Austro-German Alliance," as seen by an artist of the _Jiji
-  Shimpo_ of Tokio.
-
-[Illustration: XVII.]
-
-
-
-
-  DUTCH CARTOONS
-
-
-XVIII. THE GAME OF CHESS.
-
-  "He alone can decide how the game shall end."
-
-  (_De Roskam_, of Maëstricht).
-
-[Illustration: XVIII.]
-
-
-XIX. IN THE SUBMARINE.
-
-[Illustration: XIX.]
-
-
-XX. "TWENTIETH CENTURY MONUMENTAL STYLE."
-
-  Suggestion by M. Albert Hahn, in _De Notenkraker_, of Amsterdam, for
-  the rebuilding of Rheims Cathedral after the war, in a style more
-  conformable to Kultur than the Gothic.
-
-[Illustration: XX.]
-
-
-XXI. "KREUZLAND! KREUZLAND ÜBER ALLES!"
-
-  By Louis Raemaekers.
-
-  This is the third and last of a powerful series of three drawings
-  of the sorrows of Belgium—"The Mothers," "The Widows," and "The
-  Children." This and the three following drawings were among those
-  which appeared in the Amsterdam _Telegraaf_, and carried the fame
-  of M. Raemaekers almost instantaneously over the world. They are
-  reproduced here by permission of the Proprietors of _Land and Water_.
-
-[Illustration: XXI.]
-
-
-XXII. PRISONERS. "HUNGER AND MISERY."
-
-  By Louis Raemaekers.
-
-[Illustration: XXII.]
-
-
-XXIII. "BARBED WIRE."
-
-  By Louis Raemaekers.
-
-  Barbed wire figures in both these drawings, widely-different as they
-  are. It has a special significance, used as a background to two such
-  contrasting aspects of war.
-
-[Illustration: XXIII.]
-
-
-XXIV. "OUR FATHER WHICH ART IN HEAVEN."
-
-  By Louis Raemaekers.
-
-[Illustration: XXIV.]
-
-
-
-
-  TWO RUSSIAN CARTOONS
-
-  _from the Petrograd "Loukomorye"_
-
-
-XXV. Franz Joseph departs to the Front to cheer his Troops. But will
-  he get there?
-
-[Illustration: XXV.]
-
-
-XXVI. "THE WEAKLING."
-
-  Nobody could congratulate Mother Turk and Father Ferdinand on the
-  son (Turco-Bulgar Agreement) Doctor Kaiser has just helped into the
-  world. It would hardly be tactful for the closest friend to hazard a
-  statement that it favoured either parent.
-
-[Illustration: XXVI.]
-
-
-
-
-  A POLISH CARTOONIST
-
-
-XXVII. M. d'Ostoya, the well-known Polish artist, has published in
-  Paris, during the war, a very strong series of drawings, both in
-  colour and in black. Of this series the two shown here are among the
-  best-contrasted.
-
-  Says the Prussian Officer: "Who is it who commands here? You, a simple
-  little Jew, or I—who have thirteen quarterings of nobility?"
-
-[Illustration:
-  Gott mit uns!
-
-  Qui est-ce qui commande ici, toi qui n'es qu'un
-  simple petit juif ou moi qui possède treize quartiers de noblesse?
-  XXVII.]
-
-
-XXVIII. A DINNER AT HEADQUARTERS.
-
-  "A pig's head was also served, ornamented with laurel-leaves—for in
-  Germany it is customary to crown pigs with laurel."
-
-  Heinrich Heine, _Germania_.
-
-[Illustration:
-  Un diner au Quartier Général
-
-  ... On servit aussi une tête de porc ornée de feuilles de
-  laurier, car en Allemagne on a l'habitude de couronner
-  de laurier le front des cochons
-
-  Henri Heine, Germania
-  XXVIII.]
-
-
-
-
-  FRENCH CARTOONS
-
-
-XXIX. Poulbot is the interpreter of French childhood, and in that
-  capacity his pencil, before August 1914, had given infinite pleasure.
-  But pleasure ceased to be a very important pre-occupation in August,
-  1914, and even Poulbot's sympathetic pencil lent itself to horror as
-  easily as to mirth.
-
-  This drawing appeared in _l'Anti-Boche_, of Paris.
-
-  "Don't be frightened, kill her—I've got hold of her," runs the legend.
-
-[Illustration: —N'aie pas peur, tue-la, j'la tiens.
-
-  XXIX.]
-
-
-XXX. When the Zeppelins first came to Paris, public interest was
-  immense, and children were wakened that they might not miss the sight.
-  This drawing by Baldo from _l'Anti-Boche_, is not at all exaggerated.
-
-    "It looks like a sausage!"
-
-    "Oh, no!" cries the child, "if it had been a sausage the Boches would
-     have eaten it long ago."
-
-[Illustration: XXX.]
-
-
-XXXI. THE GERMAN ATROCITIES.
-
-  This was one of the earliest coloured prints published in Paris during
-  the war, and formed part of a cheap series, issued at a few sous each,
-  and printed in colours the most brilliant and most naïve. The little
-  boy of seven who was shot for levelling his wooden gun in play at the
-  German invaders was a very favourite theme with all French artists,
-  from Véber downwards. The incident is alleged to have taken place in
-  the village of Magny, Alsace.
-
-[Illustration: LES ATROCITÉS ALLEMANDES
-
-  LES ALLEMANDS TUENT UN ENFANT DE 7 ANS QUI LES AVAIT MIS EN JOUE AVEC
-  SON FUSIL DE BOIS
-
-  En passant à Magny (Haute-Alsace) des fantassins allemands aperçorvent
-  un enfant de sept ans qui s'amusait à les mettre en joue avec un fusil
-  de bois, au canon de fer blanc!... Un feu de salve tiré par les brutes
-  renversa le pauvre petit qui s'escroula dans une mare de sang!... Il
-  était mort!... Nous autions souri, les Allemands ont tué.
-  XXXI.]
-
-
-XXXII. A drawing by Armengol, from _Le Rire Rouge_, Paris. "Retreat
-  from the Front" (Le Front se Degarnit).
-
-[Illustration: XXXII.]
-
-
-XXXIII. IN THE BAGNIO.
-
-  By Gallo.
-
-  "What did you do?"
-  "I killed my mother. And you?"
-  "I was Emperor of Germany."
-
-  (Reproduction of a drawing in _A la Baïonnette_, Paris.)
-
-[Illustration: XXXIII.]
-
-
-XXXIV. THE CONSULTATION ON THE KAISER.
-
-  _Dr. George_: It is astonishing how effective are the "75" pills of
-  Dr. Poincaré.
-
-  _Dr. Albert_: Yes, I agree with you; the treatment should be
-  continued.
-
-[Illustration:
-  Dr. GEORGE—C'est etonnant comme les pilules 75 du Dr. Poincaré lui
-  font de l'effect.
-  Dr. ALBERT—Oui, je suis de votre avis, il faudrait
-  continuer avec ce traitment.
-  XXXIV.]
-
-
-XXXV. "THE SACRED UNION."
-
-  By Garcia Benito.
-
-  _The Marchioness_: "Dear me—in uniform one can't tell mine from
-  yours!"
-
-[Illustration: XXXV.]
-
-
-XXXVI. "THE SILENT ONE"—JOFFRE.
-
-  By Leandre, the allegorical cartoonist, in _Le Rire Rouge_, Paris.
-
-  The reputation for silence enjoyed by General Joffre is better-founded
-  than is always the case with the reputed characteristics of great men.
-  In the course of being shaved at a Paris barber's recently, an English
-  client was told that General Joffre had for fifteen years been a
-  regular customer at the shop. "And what sort of person is he really?"
-  "I don't know, sir—he never said anything!"
-
-[Illustration: XXXVI].
-
-
-XXXVII. French satire has not devoted itself entirely to our enemies,
-  but has been frequently turned on France. There are comedy and irony,
-  perhaps even pathos, in Albert Guillaume's cartoon in_ Le Rire Rouge_
-  of the fair and probably frail lady who replies to the Sister of
-  Mercy's request for clothes for the refugees: "Certainly, Sister.
-  Françoise, bring me my pink dress with silver sequins. Do you mind
-  it's being slit up at one side, Sister? It does rather date it."
-
-[Illustration: XXXVII.]
-
-
-XXXVIII. THE SICK MAN'S BURDEN.
-
-  The Two-Hunned Camel [Le Chameau à Deux Boches].
-
-  From _Le Rire Rouge_.
-
-[Illustration: XXXVIII.]
-
-
-XXXIX. AT THE GATES OF THE VATICAN.
-
-  "Open! Open! It is unhappy Belgium!"
-
-  The Pope's neutrality was not popular in France, even before he
-  refused to pronounce an opinion on the violation of Belgium, as "that
-  had happened in his predecessor's time." Many people consider that by
-  this attitude the Vatican lost a priceless opportunity of re-capturing
-  France. It is significant that this moving cartoon, from _Le Rire
-  Rouge_, is signed: "A. Willette, Catholique."
-
-[Illustration: XXXIX.]
-
-
-XL. "The Pope says...."
-
-  By Grandjouan (_Le Rire Rouge_).
-
-[Illustration: XL.]
-
-
-XLI. GOTT MIT UNS.
-
-  "What would they have left Him if He had not been with them?"
-
-  _Le Rire Rouge._
-
-[Illustration: XLI.]
-
-
-XLII. & XLIII. Steinlen was once known best for his black cats—thin,
-  rather wicked cats, prowling and hungry, and with inscrutable thoughts
-  of their own. His fame grew, his scope widened and deepened, but never
-  had he probed so deep nor risen so high as he has done since the war
-  took him from his observation of social traits and concentrated him
-  on the nobler aspects of mankind—and especially womankind. These two
-  drawings are from a series which they worthily represent: "National
-  Aid" and "Glory."
-
-[Illustration: XLII.]
-
-[Illustration: XLIII.]
-
-
-XLIV. KAISER BONNOT, by H. A. Ibels.
-
-  The war has not obliterated so completely the life that went before
-  it, that we have forgotten the Motor Bandits, headed by Bonnot, who
-  terrorised Paris by their audacity for many weeks. Had this drawing
-  not been a likeness of the Kaiser it would still have been a wonderful
-  delineation of the apache, his reckless soul showing through every
-  inch of his stealthy body.
-
-[Illustration: XLIV.
-  Kaiser - Bonnot
-  XLIV.]
-
-XLV. DAVID AND GOLIATH, by Paul Iribe.
-
-  This drawing formed the cover of the first number of _Le Mot_, a
-  short-lived but most interesting penny paper published in Paris during
-  the war.
-
-[Illustration: XLV. David et Goliath]
-
-
-XLVI. THE FAILURE, by Sem.
-
-  "After the Battle of the Marne, more than 50,000 German corpses were
-  counted"—(The Papers).
-
-  _Le Mot._
-
-[Illustration: LE RATÉ.
-  après la bataille de la Marne on a compté plus de
-  80.000 cadavres allemands...
-  (LES JOURNAUX).
-   XLVI.]
-
-
-  (A Franco-Russian Drawing.)
-
-XLVII. This drawing by Bakst, which appeared in _Le Mot_, bears the
-  following legend:
-
-  "Leon Bakst, the great Russian painter, promises very soon, he says:
-  From the Carpathians to Berlin a bound in the style of the Russian
-  ballets, to the great stupefaction of those hounds of Germans and
-  Austrians."
-
-[Illustration:
- _Leon Bakst, le grand peintre russe, nous promet pour
-  bientôt, dit-il: "Des Karpathes a Berlin, un bond dans le style des
-  Ballets Russes, a la grande stupeur de ces chiens d'Allemands et
-  d'Autrichiens."_
-  XLVII.]
-
-
-XLVIII. The Empress Eugènie has turned her house into a military
-  hospital.
-
-  "Do you know where we are, Jimmy?"
-  "The nurse told me that it's the house of a lady who has lost her son
-  in the war."
-
-  From _Le Mot_.
-
-[Illustration: L'IMPERATRICE EUGENIE A TRANSFORME SA RESIDENCE DE
-FARNBOROUGH HILL EN HOPITAL MILITAIRE.
-
-  —Savez-vous chez qui nous sommes Jimmy?
-  —La nurse m'a dit que c'était chez une dame qui a perdu son fils à la
-  guerre.
-  XLVIII.]
-
-
-XLIX. THE HOSTAGES, by A. Hermann-Paul.
-
-  From a woodcut published by the
-  Librarie de l'Estampe,
-  68 Chaussée d'Antin, Paris.
-
-[Illustration: XLIX.]
-
-
-
-
-FOUR POSTCARDS
-
-
-L. A Japanese postcard, on the resistance of Belgium to Germany. This
-  is a characteristic production, with the legend in Japanese, and was
-  not published for the Western market. The English names and number
-  were written on it by the purchaser in Japan.
-
-[Illustration: L.]
-
-
-LI. This spirited and delightful postcard by Niké, one of a series
-  which foreran his book of soldiers (almost the only wholesome war-book
-  for children), was published as early as August, 1914, before the
-  victory of the Marne. Looking at its breezy outlines, and at the
-  merry colours of the original, it is difficult to believe that it was
-  drawn and printed at a time when all the printers were mobilised, and
-  makeshift workmen formed the only labour.
-
-[Illustration:
-
-  the Cosack:... Can I give you a lift to Berlin?...
-  Le Cosaque:... Viens-tu á Berlin?......
-
-  LI.]
-
-
-LII. THE BATTLE OF THE MARNE.
-
-  "In a magnificent rush the German armies have _twice_ passed the
-  Marne. All goes well. The troops are fresh."—_Wolff._
-
-  Collection of 6 cards of the firm Bouveret, Le Mans.
-
-[Illustration:
-
-  Dans un élan magnifique, les armées allemandes
-  ont passé deux fois la Marne. Tout va bien.
-  Les troupes sont fraîches. Agence Wolff.
-  LII.]
-
-
-LIII. THE LAST TANGO.
-
-  L. Dalvy, 50 Bd. de Strasbourg, Paris.
-
-[Illustration: LIII.]
-
-CONCERT EUROPÉEN             EUROPEAN CONCERT
-_LE DERNIER TANGO. ...!_    _THE LAST TANGO. ...!_
- LIII.]
-
- GERMAN CARTOONS
-
-
-  It is not easy to come by copies of the German papers, as the
-  Trade-with-the-Enemy Act frowns upon such commerce. Happily, there
-  are neutral countries, through whose agency something may be done.
-  This and the following six pages are devoted to German Cartoons, from
-  _Simplicissimus_, the famous Munich illustrated paper. They are very
-  clever, very mordant, very amusing, and always at their best when
-  directed against England.
-
-
-LIV. THE LUSITANIA.
-
-  "Isn't it madness, to take so many women and children in a munition
-  transport?"
-  "On the contrary; by this means, when the ship goes to the devil, the
-  world will be raging against Germany."
-
-  And it was!
-
-[Illustration: LIV.]
-
-
-LV. EARNEST TIMES IN WINDSOR CASTLE.
-
-  "To the noisy applause of the Salvation Army, King George banishes the
-  Devil Alcohol."
-
-  The castle is not very life-like, but the bottle is—the free
-  advertisement should be worth something, even in war-time.
-
-[Illustration: LV.]
-
-
-LVI. D'Annunzio: "At any rate, I am sure of being immortal in the
-  heart of my creditors."
-
-[Illustration: LVI.]
-
-
-LVII. WHEN BUDDHA WAKES.
-
-  This is a typical example of the view taken of the British soldier
-  by the German artist—that he is extremely long, extremely thin, and
-  extremely ugly. He is not here, however, smoking the usual pipe.
-
-[Illustration: LVII.]
-
-
-LVIII. APACHES IN THE TRENCHES.
-
-  "Paris without light and without police! That does make a man
-  homesick!"
-
-[Illustration: LVIII.]
-
-
-LIX. THE MOOD IN FRANCE.
-
-  _(a)_ Behind the German lines.
-
-  _(b)_ Behind the French lines.
-
-[Illustration: LIX.]
-
-
-LX. THE MOOD IN FLANDERS.
-
-  "Is that an enemy aeroplane, Madeleine?"
-
-  "No, Fritz; it isn't an enemy, its a German!"
-
-[Illustration: LX.]
-
-
-LXI. A ZEPPELIN OVER TRAFALGAR SQUARE.
-
-  Free advertisement appears again here—Otherwise, the cab-horse and
-  King Charles are the striking features.
-
-[Illustration: LXI.]
-
-
-LXII. SONNINO AND SALANDRA.
-
-  "Now we've got the money, Herr Colleague, you can summon the Italian
-  people to its great historical mission."
-
-[Illustration: LXII.]
-
-
-LXIII. KITCHENER AND FRANCE'S RECRUITS.
-
-  "Only have patience, boys, and you shall yet fight for England. We
-  will keep the war on long enough for that."
-
-[Illustration: LXIII.]
-
-
-LXIV. BRITANNIA THE HOUSEKEEPER, TO THE FLEET:
-
- "I must dust you nicely every week, so that you may be as good as new
-  when peace is concluded."
-
-[Illustration: LXIV.]
-
-
-LXV. THE POOR LARK.
-
-  "I give it up, trying to sing against the guns! I'm completely hoarse
-  already."
-
-[Illustration: LXV.]
-
-
-LXVI. ENGLISH TACTICS.
-
-  "Only two Dreadnoughts against one small cruiser—it will take a lot
-  to make the English attack!"
-
-[Illustration: LXVI.]
-
-
-LXVII. LORD KITCHENER DISTORTS THE EVIDENCE.
-
-  "This man says that the Germans treat their wounded prisoners well.
-  But you see, Sir, that they have tortured him so terribly that he has
-  lost his senses."
-
-  Better caricatures than these one could not ask to see. Tommy comes
-  off worse than anyone else, and even for him his ear and his breeches
-  have been rendered characteristically.
-
-[Illustration: LXVII.]
-
-
-LXVIII. THE TRUTH.
-
-  By Louis Raemaekers.
-
-  By permission of the proprietors of _Land and Water_.
-
-[Illustration: J'ACCUSE
-  LXVIII.]
-
-
-
-
-  PRINTED BY
-  THE STRAND ENGRAVING CO., LTD.,
-  MARTLETT COURT, BOW STREET,
-  LONDON, W.C.
-
-
-
-
-Transcriber's Notes.
-
-1. Introduction and Illustrations XXI to XXIV: The spelling of the name
-"Louis Raemakers", corrected to "Louis Raemaekers".
-
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