shore soakers, than with the tragedies that
have made him infamous. But when he draws Von Tirpitz's victims, the
touch is one of almost harrowing tenderness. The Hun is a master of many
modes of killing, but however torn, or twisted, or tortured he leaves
the murdered, Raemaekers can make the dreadful spectacle bearable by the
piercing dignity with which he portrays the dead. In none of these
cartoons is his _saeva indignatio_ rendered with more sheer beauty of
design, or with a craftsmanship more exquisite, than in this monument to
the sea-mined prey. The symbolism is perfect, and of the essence of the
design. The dead sink slowly to their resting-place, but the merciful
twilight of the sea veils from us the glazed horror of the eyes that no
piety can now close. Even the dumb, senseless fish shoots from the scene
in mute and terrified protest, while from these poor corpses there rise
surfaceward the silver bubbles of their expiring breath. One seems to
see crying human souls prisoned in these spheres. And it is, indeed,
such sins as these that cry to Heaven for vengeance. Blood-guiltiness
must rest upon the heads of those that do them, upon the heads of their
children--aye, and of their children's children too. This exquisite and
tender drawing is something more than the record of inexpiable crime. It
is a prophecy. And the prophecy is a curse.

ARTHUR POLLEN.

[Illustration: THE SEA MINE]

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"SEDUCTION"

The cartoon in which the Prussian is depicted as saying to his bound and
gagged victim, "Ain't I a lovable fellow?" is one of the most pointed
and vital of all pictorial, or indeed other, criticisms on the war. It
is very important to note that German savagery has not interfered at all
with German sentimentalism. The blood of the victim and the tears of the
victor flow together in an unpleasing stream. The effect on a normal
mind of reading some of the things the Germans say, side by side with
some of the things they do, is an impression that can quite truly be
conveyed only in the violent paradox of the actual picture. It is
exactly like being tortured by a man with an ugly face, which we slowly
realize to be contorted in an attempt at an affectionate expression. In
those soliloquies of self-praise which have constituted almost the whole
of Prussia's defence in the international controve