Whether the artist’s eye be turned to Germany or to Holland, he gives proof that his vision is clear and his sense of propriety and humour keen. But the “new oil line” is Dutch, and here the humour is more genial, the satire less sharp and biting. In the foreground, drawn with great force and dignity, is the Lion of England, in blandest mood, who with his back to the German, astride the cask in strikingly complacent smiles, holds the dish to the tap in England, pouring out oil which is carried by an ingenious use of the Lion’s tail to the German’s cask. Over the great Lion, and held by the Lion, is the umbrella, inscribed N.O.T. [the Netherlands Oversea Trust], under cover of which the oil is thus cleverly carried to the smiling German. The artist touches safely and surely a delicate subject which a journalist could not treat without rousing anger; but in result a situation is shown which is sure to prove, and is proving, a trying one both to the Dutch and to the British people. However, there can be little question but that the edge of his wit is turned upon his “ain countrie” by this formidable artist-commentator. The cunning and brutality of a German debased by the worship of Kultur, of force, are almost wholly absent here; and instead the artist treats the question of Neutrality, and smiles in line and colour at both Holland and Britain. Poor “human nature” is held up to the mirror; foibles, failings, and futility reflected. That the Lion should think that N.O.T. umbrella shelters him from trickery only shows his vanity: that the oil goes to the “enemy” shows the artist’s views of some Dutchmen; that N.O.T. may also suggest that the German’s need is supplied even by the Lion’s tail of pride. Is there a further satire of men in war? While men are mown down on the field by death’s improved tools, some men will always find it “good business” to deal in “oil,” or something else at the expense of a belligerent. If the Dutchman does the business, and the German, broadly pleased, has his sore need supplied, there is the generous Lion, ’neath an umbrella which he upholds himself, made to oil an enemy, the German of the age of Kultur! _Canto virginibus puerisque._ W. M. J. WILLIAMS [Illustration: THE NEW DUTCH OIL LINE] Pan Germanicus as Peace Maker Imagine the feelings of the hindlegs of a stage elephant on being told that the performance is to be a continuous one and you will have some inkling of the dismay of the Kaiser and his henchman, concealed in the plumage of the War Eagle and the Dove of Peace respectively. The one bird is as useless as the other in bringing the war to the end desired in Berlin. The stage eagle is daily losing its plumage, and is rapidly becoming but a moulty apology for the king of birds. As for the dove, it has been used so often, with constantly changing olive branch in its beak, that it now makes its appearance shamefacedly and absolutely without heart.