*** START OF THE PROJECT GUTENBERG EBOOK 69107 ***

  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".

*** END OF THE PROJECT GUTENBERG EBOOK 69107 ***