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."