The face of Raemaekers' Satan, with its lifted jowl and bared teeth, has less of the half-truth of cynicism than of mere ignominious greed. The armies are spread out for him as a banquet; and the war which he praises, and which was really spread for him in Flanders, is not a Crusade but a cannibal feast. G. K. CHESTERTON. [Illustration: SATAN'S PARTNER BERNHARDI: "War is as divine as eating and drinking." SATAN: "Here is a partner for me."] ----------------------------------------------------------------------- THROWN TO THE SWINE The Germans have committed many more indefensible crimes than the military execution of the kind-hearted nurse who had helped war-prisoners to escape. They have murdered hundreds of women who had committed no offence whatever against their military rules. But though not the worst of their misdeeds, this has probably been the stupidest. It gained us almost as many recruits as the sinking of the _Lusitania_, and it made the whole world understand--what is unhappily the truth--that the German is wholly destitute of chivalry. He knows indeed that people of other nations are affected by this sentiment; but he despises them for it. Woman is the weaker vessel; and therefore, according to his code, she must be taught to know her place, which is to cook and sew, and produce "cannon-fodder" for the Government. Readers of Schopenhauer and Nietzsche will remember the advice given by those philosophers for the treatment of women. Nietzsche recommends a whip. It never occurred to German officialdom that the pedantic condemnation of one obscure woman, guilty by the letter of their law, would stir the heart of England and America to the depths, and steel our soldiers to further efforts against an enemy whose moral unlikeness to ourselves becomes more apparent with every new phase in the struggle. THE DEAN OF ST. PAUL'S. [Illustration: THROWN TO THE SWINE The Martyred Nurse] ----------------------------------------------------------------------- THE LAND MINE What does this cartoon suggest? I am asked and I ask myself. At first very little, almost nothing, only uninteresting, ugly death, gloomy, ghastly, dismal, but dull and largely featureless, blank and negative. Has the artist's power failed him? No, it is strongly drawn. Has his inspiration? What does it mean? Is it indeed meant? As I gaze and pore on it longer, I seem to see that it is just in this blank negation that its strength and its suggestion lie. It is meant. It has meaning. A blast has passed over this place, and this is its sequel, its derelict rubbish.