the man in the trenches?" There is a recruiting poster for the Sportsman's Thousand. A yachtsman, a football player, a golfer, a hunter, a motorist, an oarsman, and a lacrosse player are all gazing at the figure of a distinguished Australian soldier, Lieut. Jacka, V. C., and they are exhorted to: "Join together, Train together, Embark together, Fight together." The note of desperation which filled the hearts of so many friends of the Allies, during the third year of the war, appears in the Australian posters. One says: "We went into the war and must stay in or be discredited by the whole world." Another gives the substance of a cable message from one of their general officers: "Our ranks are wasting to breaking-point come and fill the gaps, lest the

honor so hardly won perish with us."

The British Indian posters seem to rely entirely upon the appeal of the picture without any lettering. There is the Indian soldier with turban and modern rifle, on guard, with the outline of the Indian Empire behind him. And here is one on the familiar theme of money turning into cartridges, an Indian soldier operating a machine-gun, while the rupee notes, coming from the rear, turn into cartridges and fill the cartridge belt of the gun.

A few Chinese news bulletins are included; one of them translated and, for the sake of curiosity, arranged in the Chinese order of writing:

One Chinese pictorial poster shows a photographic view of a tank in action, with the description printed in Chinese.

The Philippine posters are mainly in behalf of the Liberty loans and represent scenes of atrocity in Belgium.

An amusing poster from a neutral country shows that the neutrals, too, had their slackers and their need to call for enlistment. A Dutch poster of

excellent design and color has two figures, one of the armed soldier on guard before the red, white, and blue flag of Holland, while the other is the absurd and weak-kneed slacker, in conspicuous civilian attire and felt slippers, standing near a stove on which a pot of tea is boiling. A cigarette is drooping from his lips, and his total contribution to the service of his country in time of danger seems to be a sock which he is knitting. The men of the Netherlands are asked, "Which of these two is your picture?"

a soldier has put This was issued in Both of these posters

There is also a striking poster from Switzerland, down his rifle and pack to lift his little son in his arms. behalf of a national fund for soldiers and their families. indicate the strain put upon the little, neutral countries which had to maintain large bodies of men in the field to guard their frontiers and protect their threatened neutrality.

Second, perhaps, only to the French posters, for their beauty, are the Polish recruiting posters of W. T. Benda and the series issued by the CzechoSlovak recruiting office in this country. The remarkable series of the latter, beautifully printed and colored on Japanese paper from designs by Vojtech Preissig, are one of the most noticeable features of the collection. reproduced on page 491.)

(One is

The Italian poster selected for illustration here (page 489), is shown not only as an example of the work of the Italian poster artists, but because it depicts a soldier of each of the four principal Allies, and shows the idea of the American countenance which seems to prevail in Europe. This Yankee, with the high cheekbones, long nose and narrow eyes (who also appears on some of the French posters), seems to be an indication of a subconscious belief that Americans are descended from Red Indians.

The large collection of English posters is mainly devoted to recruiting and to war loans. The appeal is direct and manly. The artistic achievement of the French poster artists is seldom equaled here, but there is no doubt of the effectiveness on the mind of the Anglo-Saxon, when John Bull steps out in front of the ranks, points his finger straight at you (as Uncle Sam seems to be so fond of doing), and says bluntly- "Who's absent -"Who's absent - is it you?" Lord Kitchener's stern eyes remind Englishmen of their duty, and the little maimed figure of Nelson looms against a dark sea and a blood-red sunset to tell his countrymen that England expects in 1915 just what she expected in 1805. In one of the great English posters of the war, Bernard Partridge, Punch's cartoonist, shows the outraged spirit of Britain rising from the waters where the Lusitania's dead are sinking, to invoke every Englishman to take up the sword of justice. Frank Brangwyn's realistic battle-scene shows a Hun