The total effect of a poster is cumulative: we feel its design; but we feel its design more strongly for its fitting colour scheme; and still more strongly when the designer knows and works upon all the subtle qualities and texture of the stone he uses. For its maximum influence the poster must be designed by a skilled lithographic artist (if lithography should be the medium chosen), executed upon stone by him, and printed either by him or under his direct supervision. It is the failure to appreciate this which has marred so many of the United States posters, and made them of little importance. Anyone who could draw has been considered suitable for the task of designing; anyone who could print has been considered equal to printing their posters. And so we have a great mass of work, some lithographed, some photo-lithographed, some produced from photo-process blocks in colour on varieties of glazed, unsuitable papers; but very few which leave one with the cool, satisfied feeling that here is good work well done. The influence of a work of art is an elusive thing, easily lost; and to a full understanding of it years of special training are necessary. The passer in the street may be unaware of the causes of his admiration or sympathy, but the effects upon him have been proved times without number. Necessarily, however, there are many exceptions to this general failure in craftsmanship, cases in which artists triumphed over all mechanical obstacles, and instances of great lithographic firms, with contracts from the Government, who were skilled in poster production and able to act in genuine consonance with the designers. If we set up a well-defined standard, and place in the front rank men like Raleigh, Treidler, Pennell, and Young, who are very able lithographic artists, producing posters of a high order, there still remains a large group of designers whose work may be characterised as possessing, in a pronounced degree, what has been described as the "poster sense." They may not have the craftsmanship to make the poster all that--viewed as a complete artistic production--it should be; but there is "punch" in their sure and speedy way of conveying a message, in the pithiness and wit of their legends. Above all, they possess a great humanity--that sense of human suffering to be relieved, human wrongs to be righted, which kept the United States a beneficent neutral so long, and at length called her into the War. This is exemplified in their very best work. Raleigh's "Must Children Die, and Mothers Plead in Vain?" reproduced in No. 63, nobly illustrates it. Several other fine posters by this artist, in a style perhaps reminiscent of Brangwyn, yet full of original energy and stirred by genuine passion, deal with the same or similar sentiments. A large number of posters of varying merit follow this lead: "America the Home of All who Suffer, the Dread of All who Wrong," runs the legend on a poster by Paus; "Remember