all on his long spear. The deceased Austrian Emperor, Francis Joseph, is a frequent subject for caricature, together with the German Kaiser and Crown Prince, who are represented in various ludicrous and loathsome disguises. In one picture the Russian bear emerges from the woods in time to make Francis Joseph and Wilhelm scramble hastily up a tree. In another the Germans, always indicated by their spiked helmets, are represented as destructive grasshoppers, whom a gigantic Russian soldier sprays with an insect poison. In one cartoon the rulers of the Central Empires, together with their ally, the Turkish Sultan, are trying to escape from a walled enclosure with numerous bags of loot, named Armenia, and other Asiatic or European provinces. A British Tommy, accompanied by a Poilu in his red trousers (for this dates from the early days of the war), are closing and barring the gate, while an enormous Russian Moujik, pulling up the sleeve to uncover his tremendous right arm, is advancing to punish the thieves. A curious collection of figures, representing the neutral nations, peer over the wall at the spectacle. There is Italy, already starting to climb the wall, Bulgaria, with the fox-like nose of Ferdinand, an extraordinary heavily-jowled Uncle Sam, only distinguishable by the stars on his hat-band, China, and one other, meant, perhaps, for Spain. Some of the Russian cartoons appear to belong to the cubist school, or at least to have been designed by artists within the "lunatic fringe" of the new art. One of them shows a chateau or cathedral of the most angular scheme of architecture, colored in vivid yellow, red and green, and set squarely in the middle of a flat green plain. A troop of Cossacks, whose spears reach to the highest turrets of the building, are beginning to charge around the chateau against a platoon of unfortunate Austrian infantry. The platoon commander, in red cap, orange tunic, and bright blue breeches, has thrown his sword on the ground and is retreating in great strides, holding one hand, which appears to be covered with a white kid glove, against his face, as if he were suffering from tooth-ache. Two squads of soldiers are being destroyed by the explosion of shells, another squad is retreating in perfect alignment, while the front rank of still another squad (the rear rank having evidently been completely destroyed, sunk without a trace) have thrown down their rifles and are all ready to cry "Kamerad!" as soon as their corporal gives the order.

Pictures representing the cruelties of the enemy are crude and terrible, while the battle-scenes belong to a stage in the development of art which has not advanced beyond childlike simplicity. (There is in this country a series of cartoons, displayed in shop windows, and similarly addressed to persons of limited intelligence.) One of the Russian pictures represents a naval com

bat; four Russian cruisers spouting smoke from every gun are bearing down upon a Turkish man-of-war, whose blood-spattered deck fills the foreground of the picture. A number of Turkish sailors, most of whom are still wearing their fezzes with the utmost nicety, lie upon the decks in various attitudes indicating death and suffering. A gun-crew, whose blue uniforms are in perfect order and whose fezzes are beyond reproach, are earnestly regarding some object which has no connection with the rapidly approaching Russian ships. Their manner is calm, and the confusion on the deck does not prevent them from assuming attitudes popularly associated with the stress of battle.

The changing fortunes of Russia are represented in some of the later and finer examples of Russian poster art, issued during the earlier Revolutionary period and the régime of Kerensky.

From France, the home of the poster, come many of the best items in the collection. Here is Charles Fouqueray's heroic figure of Cardinal Mercier, in the robes of a Prince of the Church, protecting a forlorn group of refugees, women and children, who throng dimly in the black clouds in the background of the picture. Here is Abel Faivre's powerful drawing of the fighting-man, naked, except for helmet and sword-belt, with his blade at the throat of the black Prussian eagle whose beak is tearing the tri-color. Here is a quieter scene, George Dorival's snowy and starlit hillside across which a soldier is tramping toward the three Y. M. C. A. huts of the Union Franco-Américain, "Les Foyers du Soldat." Faivre again, who has designed so many of the most effective French posters, originated the Prussian soldier crushed under the weight of the great golden coin, from the face of which the fightingcock of the Republic springs to tear out the invader's eyes. The beholder is commanded to pour out his gold for France. Faivre also, it was, who designed one of the most popular posters of the war, — the triumphant Poilu and his battle-cry "On les aura!" (See frontispiece.) Faivre drew the brutal German soldier who has just shot the little French child because she dared to wave the tri-color, as well as the Prussian officer who gazes cynically at the peasant woman, suckling her baby amid the ruins of her home. He is represented as saying: "Nous sommes encore bien bons de ne pas réquisitionner votre lait!" Here is also the bent figure of the Kaiser, with shattered sword, overwhelmed in the glorious mass of the Allied flags. The statue of Liberty Enlightening the World has often been used by American poster artists, but never more effectively than in the French poster copied here (page 483), in which Liberty rises out of the sea, while both water and air are lighted by the yellow rays of the dawn. The help that civilians can give

is illustrated by "L'Emprunt de dernières cartouches, français encore un effort!" Here the Poilu, with smoking rifle, eager to take one last shot at the fleeing Boche, reaches to fill the magazine of his rifle from a box of cartridges handed up to him by a stout, elderly citizen, not unlike M. Clémenceau in appearance. Also reaching up from the trench below, to give the soldier a hand-grenade, is a little girl not over three or four years old, winsome but comical in her fur-trimmed coat and muff.

The coming of the Americans, in the last phase of the war, is depicted in the poster showing a German soldier, whose features form a ludicrous caricature of the Crown Prince, making an attempt with a crowbar to break down a door called the "Western Front." Over him, as he works feverishly, falls the shadow of the gigantic, laughing Yankee doughboy. "Voilà les Américains!" says the big type, and the French readers are further encouraged by small pictures and letterpress at the bottom, showing the resources in men, factories, ammunition, and ships of the new Ally.

"Hansi," whose "L'Histoire d'Alsace" and "Mon Village" so irritated the Germans before 1914 and imperiled the artist's liberty, has two posters in this collection, one, the triumphal entry of the French armies into Strasbourg, preceded by the Alsatian children, whom he so loves to depict. The poster is further slyly adorned in an inconspicuous corner by the figures of two of the invaders, retreating with a little handy household loot. In another, a poster for the Fourth War Loan, three French soldiers, looking from their trench under a great fir tree, see a glorious distant vision of Strasbourg cathedral, with the tri-color breaking out upon its roof.

The Australian posters form one of the most significant and interesting parts of the collection. The spirited nature of them is well represented by the poster, six by ten feet in size, “Come on Boys, Follow the Flag!" which is reproduced with this article (page 487). The peculiar flavor of Australia appears in the picture in which the Australian infantryman is calling for recruits, turning back from the firing-line to give the bushman's cry, "Coo-ee!" Another shows the Australian kangaroo, and still another has a man, with his hands in his pocket, outlined against the lurid background of a raging fire. The legend is: "Would you stand by while a bush fire raged? Get busy and drive the Germans back!" Appeal is made to the spirit of the sportsman. A tennis-player in cool flannels, is resting between sets and reading a novel, with a convenient table for whiskey and soda near by. Above, is the soldier, hot, grimy and uncomfortable, but intent upon his duty. The question here is: "Which picture would your father like to show his friends?" A poster showing a sea-bather, asks the reader: "It is nice in the surf, but what about