The experience of other nations shows that really noble posters have been produced through artists being inspired by the cause rather than as a result of their employment by the State. Italy proved no exception to this. Such of her best designers as were left still devoted their energies to the production of cartoons; and in due time others returned to their previous work, wounded, like Oppo, cartoonist of the _Idea Nationale_, who, when the 130th Infantry Regiment was annihilated in July, 1915, was one of the five survivors, and came back to his paper with a useless arm, to wage war as of old for land and liberty. The cartoon being thus the most natural means of propaganda in Italy, such posters of the ordinary type as were produced were, in consequence, of an extremely secondary order; so much so that, in making a selection to exhibit at the Grafton Galleries in June, 1919, the Imperial War Museum chose only eight to represent Italy, and of the eight three were posters advertising Raemaekers' cartoons. One of these, "Neutral America and the Hun," is reproduced in illustration 75. Among the actual Italian examples, Barchi's "Sotto-scrivete" and Mauzan's "Fate tutti il vostro dovere" alone were notable. Greece, on the contrary, showed a considerable facility in the production of war posters. But anxious as one is to consider in a favourable light whatever artistic creation emanates from the land which inspired and nourished Western art in its infancy, it is impossible to regard their war posters with anything more than an indulgent eye. Mr. Pennell, in his little book to which we have already referred, has claimed all notable productions in decorative art through the ages as posters, and would bid us look on the frieze of the Parthenon as an excellent piece of Greek poster art. It is a wild application, not to be taken too seriously. Modern art is not necessarily a development from the art of other ages; and even where the form is comparable, the purpose is widely divergent. For a vital modern art is for ever the expression of a new spirit, the revelation of a fresh aspect of life, another facet of a many-sided jewel; and it is this unexpected quality, the surprise of this revelation, which is so valuable to the world. Nothing new, nothing fresh, appeared in the Greek posters: tame and poor in line, meagre in their quality as reproductions, we must regard them as a brave attempt rather than applaud their achievement.