Mr. Mckinley as a Political Tam o' Shanter.By Gillam in "Judge."
Mr. Mckinley as a Political Tam o' Shanter.
By Gillam in "Judge."
Don Quixote Bryan meets Disaster in his Encounter with the full Dinner Pail.By Victor Gillam in "Judge."
Don Quixote Bryan meets Disaster in his Encounter with the full Dinner Pail.
By Victor Gillam in "Judge."
Outing of the Anarchists.
Outing of the Anarchists.
Another cartoon of sterling literary flavor is that representing Mr. McKinley as a political Tam o' Shanter, which appeared during the exciting election of 1896. The countenance of Tam in this cartoon shows none of the anxiety and mental perturbation of the hero of Burns' poems. Youcan see that he has full confidence in his good mare, "National Credit," and is perfectly convinced that she will carry him unscathed over the road to Good Times, Prosperity, and Protection. The carlins have been close at his mare's heels, however, and as he passes the bridge over which they darenot cross, the foremost of his pursuers has caught and pulled away as a trophy the tail of the steed. The tail, however, is something with which he can well part, for it typifies four years of business depression. The leaders of the pursuing carlins are Free Trade, Anarchy, Sectionalism, and Popocracy.
To the Death.
To the Death.
Mr. Bryan's appeal to the farmer in 1896 was hit off by Hamilton in a powerful, but exceedingly blasphemous, cartoon entitled "The Temptation." Bryan in the form of a huge angel of darkness has taken the farmer to the top of a high mountain to show him the riches of the world. As far as the eye can see stretch oceans and cities and hills and rivers and mountains of silver. It is a great pity that so grim andpowerful a cartoon should have been marred by that display of bad taste which has been too frequent in the history of caricature.
The Great Weyler Ape.
The Great Weyler Ape.
The caricature produced by the campaign between Mr. McKinley and Mr. Bryan in 1900 offers few, if any, cartoons more admirable than that by Mr. Victor Gillam, representing Don Quixote Bryan meeting disaster in his fight against the full dinner pail. This cartoon has that literary flavor which has been too much lacking in American caricature, and which raises this particular cartoon far above the average in the same school. The idea, of course, is based on Don Quixote's disastrous encounter with the windmill, which that poor crack-brained gentleman took to be a giant. The body of the windmill is a huge dinner pail and its arms are a crossed knifeand fork. Don Quixote, incased in armor from head to foot, and mounted on the Democratic donkey with free silver for a saddle, has tilted against the solid structure with disastrous results. His lance is shattered, and he and his faithful steed lie prostrate and discomfited on opposite sides of the road. The Sancho Panza needed to complete the picture appears under the familiar features of Mr. Richard Croker, who, leading the Tammany Tiger by a rope, is hurrying to his master's assistance. In the distance may be seen the White House, but the road in that direction is completely barred by the stanch windmill that has so successfully resisted the mad knight's onslaught.
"We are the People."
"We are the People."
The pent-up feeling throughout the United States, which reached a dangerous degree of tension during the weeks preceding the declaration of war against Spain, was forcibly symbolized in the MinneapolisHerald. The dome of the National Capitol is portrayed, surmounted by a "Congressional safety-valve." McKinley, clinging to the cupola, is anxiously listening to the roar of the imprisoned steam, which is escaping in vast "war clouds," in spite of all the efforts of Speaker Reed, who is freely perspiring in his effort to hold down the valve.
Be Careful! It's Loaded!By Victor Gillam in "Judge."
Be Careful! It's Loaded!
By Victor Gillam in "Judge."
One of those cartoons which are not to be forgotten in a day or a week or a month; one which stirs the blood and rouses the mind to a new patriotism even when seen years after the events which inspired it, is Victor Gillam's "Be Careful! It's Loaded!" which appeared a few weeks before the outbreak of the Spanish-American War and which we deem worthy of being ranked among the twenty-five or thirty great cartoons which the nineteenth century has produced. To realize to-day its full force and meaning one has to recall the peculiar tension under which the American people were laboring during the months of February, March, and April, 1898. TheMainehad been destroyed in Havana Harbor, and although, now that anger has died down, we can no longer cling implacably to the belief, which was then everywhere expressed, that it was an act emanating from the Spanish Government, at the time it was too much for our overwroughtnerves; the condition of Cuba was growing every day more deplorable, and everyone felt that the inevitable conflict was hourly at hand. In the picture American patriotism is symbolized by a huge cannon. A diminutive Spaniard has climbed to the top of a mast of a Spanish vessel and monkey-like is shaking his fist down the muzzle. Uncle Sam, standing by the gun and realizing the Spaniard's imminent peril calls out, excitedly, "Be Careful! It's Loaded!" a warning to which the latter seems little inclined to pay any attention. In its very simplicity this cartoon differs greatly from most of those of the school ofPuckandJudge. There is none of that infinite variety of detail which makes an elaborate study necessary in order to arrive at a full comprehension of the meaning of a cartoon. "Be Careful! It's Loaded!" like the most striking English and French cartoons, may be understood at a glance.
Speaker Reed to McKinley—"You've got to bank the fire some way or other: I can't hold in this steam much longer."Minneapolis "Tribune."
Speaker Reed to McKinley—"You've got to bank the fire some way or other: I can't hold in this steam much longer."
Minneapolis "Tribune."
The Latest War Bulletin.By Hamilton in "Judge."
The Latest War Bulletin.
By Hamilton in "Judge."
A cartoon like Grant E. Hamilton's "The Latest War Bulletin" we find amusing at the present time. We did not find it so a little over five years ago. This latest war bulletin, printed in asbestos, is supposed to have been just received from the infernal regions. His Satanic majesty, with a sardonic grin upon his face, has just composed it to his own entire satisfaction. Marked up on the burning furnace of Hades it reads: "Only Spanish will be spoken here until further notice—P.S. Guests will please leave their crowns and Spanish 4's in charge of the night clerk."
A Knife for the American Pigs.Piratical—(Spain accused an American ship of flying the Spanish flag in order to cut the cable)Sampson—"Where is Cervera's fleet?"McKinley—"I wonder what he holds?"The result of the war—defeats.McKinley and England.The Minister of Revenue has a spoon for the war kettle.Spanish Cartoons of the Spanish-american War.From "Don Quijote" (Madrid).
Spanish Cartoons of the Spanish-american War.
From "Don Quijote" (Madrid).
Another equally hideous cartoon by Hamilton is that entitled "The Spanish Brute Adds Mutilation to Murder." It shows a hideous ape-like monster representing Spain, one blood-dripping hand smearing the tombstones erected to the sailors of theMaineand the other clutching a reeking knife. All about him under the tropical trees are the bodies of hismutilated victims. The expression of the monster's countenance is a lesson in national prejudice. It shows how far a well-balanced nation may go in moments of bitterness and anger.
The Spanish Brute—Adds Mutilation to Murder.By Hamilton in "Judge."
The Spanish Brute—Adds Mutilation to Murder.
By Hamilton in "Judge."
One of the most striking and amusing of all the cartoons evoked by the results of the Spanish-American War appeared inPunchat a time when our departure from our traditional policy began to cause comment in Europe. There are two figures, that of Dame Europa and that of Uncle Sam. Dame Europa is a lady of frigid aspect, with arms folded, and who has drawn herself up to full height as she gazes scornfully at the complacent and unruffled Uncle Sam. "To whom do I owe the honor of this intrusion?" she asks icily. "Marm, my name is Uncle Sam." "Any relation of the late Colonel Monroe?" is the scathing retort.
No less interesting than the American cartoons of the Spanish War are those contributed by Spain herself, although in the light of subsequent events they are chiefly amusing for their overweening confidence and braggadocio insolence. Among the more extravagant flights of Spanish imagination, which later news turned into absurdities, may be cited "Dewey's Situation," in which the victor of Manila is represented as a disconsolate rat, caught in the Philippine mouse-trap; "Cervera bottles up Schley," a situation which the sober facts of history afterwards reversed; and "McKinley's Condition," in which the President is represented as swathed in bandages, and suffering severely from apocryphal injuries received at Porto Rico and Cienfuegos. All of these cartoons appeared at different times in the MadridDon Quijote, which did not always keep on this level of empty boasting, but occasionally produced some really clever caricature. A regular feature of the Spanish War cartoons was the American Hog as a symbol of the United States, and some of the applications of this idea in theDon Quijotewere distinctly amusing. For instance, in reference to Spain's accusation that an American ship flew the Spanish flag at Guantanamo in order to approach near enough to cut the cable, America is shown as a fat hog, triumphantly strutting along on its hind legs and ostentatiously waving the Spanish colors. Again, the Sampson-Schley controversy is hit off in a picture showing Sampson surrounded by a number of naval "hogs," each armed with gigantic shears and bent upon obtaining the Admiral's scalp. Still another cartoon seeks to explain the "real purpose" in getting Cuba away from Spain. A drove of pigs have clustered around a huge barrel of Cuban molasses and are eagerly sucking the contents through tubes. Of a more dignified type are the caricaturesrepresenting Spain as a beautiful and haughty Señorita, boldly showing how she keeps beneath her garter "a knife for the American pigs"; or pointing to her shoe on which Cuba serves as a buckle, and arrogantly challenging a diminutive McKinley, "you can't unbuckle that shoe!"
"You can't unbuckle that shoe."Cervera bottles up Schley.McKinley's condition.Dewey's situation.After Sampson's scalp.America's Real Desire.Castelar writes a letter."This is for you if you don't behave."Spanish Cartoons of the Spanish-American War.From the "Don Quijote" (Madrid).
Spanish Cartoons of the Spanish-American War.
From the "Don Quijote" (Madrid).
A cartoon which was a forerunner of the Transvaal War and the railway between Capetown and Cairo was that entitled "The Rhodes Colossus," which appeared inPunchDecember 10, 1892. It was by the hand of Linley Sambourne. It shows a colossal figure of Cecil Rhodes standing on a map of Africa with one foot planted in Egypt and the other at the Cape. In his hands he holds a line suggesting the telegraph wire connecting the two places.
The Rhodes Colossus.By Linley Sambourne.
The Rhodes Colossus.
By Linley Sambourne.
The Situation in South Africa.By Gillam in "Judge."
The Situation in South Africa.
By Gillam in "Judge."
The English World Kingdom, or Bloody Cartography.From the "Lustige Blätter."
The English World Kingdom, or Bloody Cartography.
From the "Lustige Blätter."
Although the German Government refused to interfere in the protracted struggle in the Transvaal, the sympathy of Germany with the Boers found expression in a host of cartoons, bitterly inveighing against British aggression. Thoroughly characteristic is one which appeared in theLustige Blätterentitled "English World-Kingdom; or, Bloody Cartography." A grossly distorted caricature of Victoria is standing before a map of the world, and dipping her pen in a cup of blood, held for her by an army officer. Chamberlain, at her elbow, is explaining that "the lowest corner down yonder, must be painted red!" Another of theLustige Blätter'sgrim cartoons, alluding to the terrible price in human life that England paid for her ultimate victory in the Transvaal, depicts Britannia, as Lady Macbeth,vainly trying to wash the stain from her bloody hands. "Out, damned spot!" In lighter vein is the cartoon which is here reproduced from theWiener Humoristische Blättershowing "Oom Paul at His Favorite Sport." Kruger, rakishly arrayed in tennis garb, is extracting infinite enjoyment from the congenial exercise of volleying English soldiers, dressed up as shuttlecocks, over the "Transvaal net" into the watery ditch beyond.
Britannia as Lady Macbeth trying to wash away the Stains of the Boer War.From the "Lustige Blätter."
Britannia as Lady Macbeth trying to wash away the Stains of the Boer War.
From the "Lustige Blätter."
The Flying Dutchman.Minneapolis "Journal."
The Flying Dutchman.
Minneapolis "Journal."
Judged by the manner it was mirrored in the caricature of Europe and America, the Dreyfus Case assumed the magnitude of a great war or a crisis in national existence. During the last two or three years that the degraded Captain of Artillery was a prisoner at Devil's Island, when Zola was furiously accusing, and the General Staff was talking about"the Honor of the Army," and France was divided into two angry camps, one had only to glance at the current cartoons to realize that Dreyfus was, as the late G. W. Steevens called him, "the most famous man in the world." For a time the great personages of the earth were relegated to the background. The monarchs and statesmen of Europe were of interest and importance only so far as their careers affected that of the formerly obscure Jewish officer.
Oom Paul's Favorite Pastime.From the "Wiener Humoristische Blätter."
Oom Paul's Favorite Pastime.
From the "Wiener Humoristische Blätter."
Up against the Breastworks.
Up against the Breastworks.
Mr. Rhodes—The Napoleon of South Africa.From the Westminster "Budget" (London).
Mr. Rhodes—The Napoleon of South Africa.
From the Westminster "Budget" (London).
Perhaps the most famous of all the admirable cartoons dealing withl'Affairewas the "Design for a New French Bastile," which was of German origin and which caused the paper publishing it to be excluded from French territory. It appeared just after Colonel Henry had cut his throat with a razor in his cell in the Fortress of Vincennes, when suspicions of collusion were openly expressed, and some went so far as to hint that the prisoner's death might be a case of murder and not suicide. The "Design for a New French Bastile"showed a formidable fortress on the lines of the famous prison destroyed in the French Revolution with a row of the special cells beneath. In one of these cells a loaded revolver was placed conspicuously on the chair; in the next was seen a sharpened razor; from a stout bar in a third cell dangled a convenient noose. The inference was obvious, and the fact that the cells were labeled "for Picquart," "for Zola," "for Labori" and the other defenders of Dreyfus gave the cartoon an added and sinister significance. In caricature the Dreyfus case was a battle between a small number of Anti-Dreyfussard artists on the one hand, and the Dreyfus press with all the cartoonists of Europe and the United States as its allies on the other. The opportunity to exalt the prisoner, to hold him up as a martyr, to interpret pictorially the spiritof Zola's ringing "la vérité est en marche, et rien ne l'arrêtera!" offered a vast field for dramatic caricature. On the other hand the cartoon against Dreyfus and his defenders was essentially negative, and the wonder is that the rout of the minority was not greater—it should have been a veritable "sauve qui peut."
Fire!From "Psst" (Paris).
Fire!
From "Psst" (Paris).
The last Phase of the Dreyfus Case.Justice takes Dreyfus into her car.From "Amsterdammer."
The last Phase of the Dreyfus Case.
Justice takes Dreyfus into her car.
From "Amsterdammer."
The spirit of anti-Dreyfussard caricature was Anti-Semitism. One of the most striking of the cartoons on this side purported to contrast France before 1789 and France at the end of the Nineteenth Century. In the first picture wewere shown a peasant toiling laboriously along a furrow in the ground, bearing on his shoulders a beribboned and beplumed aristocrat of the old régime, whose thighs grip the neck of the man below with the tenacity of the Old Man of the Sea. That was France before the Revolution came with its bloody lesson. In the picture showing France at the end of the Nineteenth Century there was the same peasant toiling along at the bottom, but the burden under which he tottered was fivefold. Above him was the petty merchant, who in turn carried on his shoulders the lawyer, and so on until riding along, arrogantly and ostentatiously, at the top was the figure of the foreign-born Jew, secure through the possession of his tainted millions.
Toward Freedom.Madame la République—"Welcome, M. Le Capitaine. Let me hope that I may soon return you your sword."From "Punch" (London).
Toward Freedom.
Madame la République—"Welcome, M. Le Capitaine. Let me hope that I may soon return you your sword."
From "Punch" (London).
A Dutch View.The present condition of the French general staff.From "Amsterdammer."
A Dutch View.
The present condition of the French general staff.
From "Amsterdammer."
Between Scylla and Charybdis.Waldeck-Rousseau—"Forward, dear friends, look neither to the right nor the left, and we will win through at last."From "Humoristische Blätter" (Berlin).
Between Scylla and Charybdis.
Waldeck-Rousseau—"Forward, dear friends, look neither to the right nor the left, and we will win through at last."
From "Humoristische Blätter" (Berlin).
The dangerous straits through which the Waldeck-Rousseau ministry was obliged to pass were hit off in a cartoon appearing in theHumoristische Blätterof Berlin, entitled "Between Scylla and Charybdis." On one side of the narrow waterway a treacherous rock shows the yawning jaws of the Army. On the other side, equally hideous and threatening, gleam the sharpened teeth of the face typifying the Dreyfus Party. Waldeck-Rousseau, appreciating the choppiness of the sea and the dangerous rocks, calls to his gallant crew: "Forward, dear friends, look neither to the right nor to the left, and we will win through at last." Many of the cartoons dealing with the Dreyfus case were mainly symbolic in their nature; full of figures of "Justice with her Scales,""Justice Blindfolded and with Unsheathed Sword," "Swords of Damocles" and so on. A Dutch cartoon inAmsterdammer, entitled "The Last Phase of the Dreyfus Case," showed Justice taking the unfortunate captain into her car. The horses drawing the car were led by Scheurer-Kestner and Zola, while following the chariot, to which they are linked by ignominious chains, were the discredited Chiefs of the Army. The same paper humorously summed up the condition of the French General Staff in a picture showing a falling house of which the occupants, pulling at cross-purposes, were accelerating the downfall. The decision upon Revision and the dispatching of the Spax to Cayenne to bring Dreyfus back to France was commemorated in LondonPunchin a dignified cartoon called "Toward Freedom." Madame la République greeted Dreyfus: "Welcome, M. le Capitaine.Let me hope I may soon return you your sword." The same phase of the case was more maliciously interpreted byLustige Blätterof Berlin in a cartoon entitled "At Devil's Island," which showed the Master of the Island studying grinningly a number of officers whom he held in the hollow of his hand, and saying: "They take away one captain from me: but look here, a whole handful of generals! Oh, after all, the arrangement is not so bad."
At Devil's Island.The Master of the Island.—"They take away one captain from me; but look here, a whole handful of generals! Oh, after all, the arrangement is not so bad."From "Lustige Blätter" (Berlin).
At Devil's Island.
The Master of the Island.—"They take away one captain from me; but look here, a whole handful of generals! Oh, after all, the arrangement is not so bad."
From "Lustige Blätter" (Berlin).
With the Spanish-American War, theAffaire Dreyfusin France, and England's long struggle for supremacy in the Transvaal, the period arbitrarily chosen as the scope of this book comes to a brilliant and dramatic close. But the cartoonist's work is never done. Nimble pencils are still busy, as in the days of Rowlandson and Gillray, in recording and in influencing the trend of history. And although, now and again during the past century, there has been some individual cartoonist whose work has stood out more boldly and prominently than the work of any one of our contemporaries in Europe or in this country stands out to-day, there has never been a time in the whole history of comic art when Caricature has held such sway and maintained such dignity, and has enlisted in her service so many workers of the first talent and rank. Without alluding to the men of France and England, what an array it is that contemporary American caricature presents! C. G. Bush of the New YorkWorld, Charles Nelan of the New YorkHerald, Frederick Burr Opper and Homer Davenport of the New YorkAmerican and Journal, Mahoney of the WashingtonStar, Bradley of the ChicagoEvening-News, May of the DetroitJournal, "Bart" of the MinneapolisJournal, Mayfield of the New OrleansTimes-Democrat, Victor Gillam, carrying on the traditions of his brother—Rogers, Walker, Hedrick, Bowman, McCutcheon, Lambdin, Wallace, Leipziger, Berryman, Holme, Bartholemew,Carter, Steele, Powers, Barritt—and to name these men does not nearly exhaust the list of those artists whose clever work has amused and unconsciously influenced hundreds of thousands of thinking American men and women.
C. G. Bush of "The World." The Dean of Active American Cartoonists.
C. G. Bush of "The World." The Dean of Active American Cartoonists.
Willie and his Papa."What on earth are you doing in there, Willie?""Teddy put me in. He says it's the best place for me during the campaign."
Willie and his Papa.
"What on earth are you doing in there, Willie?"
"Teddy put me in. He says it's the best place for me during the campaign."
There are interest and significance in the fact that a majority of the ablest caricaturists of to-day are devoting their talents almost exclusively to the daily press. It is an exacting sort of work, exhaustive both physically and mentally. The mere idea of producing a single daily cartoon, week in and week out,—thirty cartoons a month, three hundred and sixty-five cartoons a year, with the regularity of a machine,—is in itself appalling. And yet a steadily growing number of artists are turning to this class of work, and one reason for this is that they realize that through the medium of the daily press their influence is more far-reaching than it possibly can be in thepages of the comic weeklies, and that at the same time the exigencies of journalism allow more scope for individuality than do the carefully planned cartoons of papers likePuckorJudge. Speed and originality are the two prime requisites of the successful newspaper cartoon of to-day, a maximum of thought expressed in a minimum of lines, apposite, clear-cut, and incisive, like a well-written editorial. Indeed, our leading cartoonists regard their art as simply another and especially telling medium for giving expression to editorial opinion. Mr. Bush, "the dean of American caricaturists," may be said to have spoken for them all when he said, in a recent interview, that he looks upon a cartoon as an editorial pure and simple.
"To be a success it should point a moral. Exaggeration and a keen sense of humor are only adjuncts of the cartoonist, for he must deal with real people. He must also be a student. I am obliged not only to use my pencil, but to study hard, and read everything I can lay my hands on. The features of Roosevelt, Bryan, Hanna, and Croker may be familiar to me, but I must know what these men are doing. I must also know what the masses behind these popular characters think and believe."
Homer Davenport, of the "New York American and Journal."
Homer Davenport, of the "New York American and Journal."
Another direct result of the influence of journalism upon caricature, in addition to that of compelling the artist to keep in closer touch than ever before with contemporary history, is the growing popularity of the series method—a method which dates back to the Macaire of Philipon and the Mayeux of Traviès, and which consists in portraying day by day the same more or less grotesque types, ever undergoing some new and absurd adventure. It is a method which suits the needs of artist and public alike. To the former, his growing familiarity with every line and detail of the featuresand forms of his pictorial puppets minimizes his daily task, while the public, even that part of the public which is opposed to comic art in general, or is out of sympathy with the political attitude of a certain series in particular, finds itself gradually becoming familiar with the series, through fugitive and unexpected glimpses, and ends by following the series with amusement and interest and a growing curiosity as to what new and absurd complications the artist will next introduce. This employment of the series idea is as successful in social as political satire. Mr. Outcault's "Yellow Kid" and "Buster Brown," Mr. Opper's "Happy Hooligan" and "Alphonse and Gaston," Gene Carr's "Lady Bountiful," and Carl Schultze's "Foxy Grandpa" are types that have won friends throughout the breadth of the continent. In the domain of strictly political caricature, however, there is no series that has attracted more attention than Homer Davenport's familiar conception of the Trusts, symbolized as a bulky, overgrown, uncouth figure, a primordial giant from the Stone Age. And since there have been a number of apocryphal stories regarding the source of Mr. Davenport's inspiration, it will not be without interest to print the artist's own statement. "As a matter of fact," he says, "I got the idea in St. Mark's Square in Venice. Seeing a flock of pigeons flying about in that neighborhood I immediately, with my love of birds and beasts, determined by fair means or foul to purloin a pair. I watched them fly hither and thither, and in following them came across a statue of Samson throwing some man or other—I forget his name—to the ground. The abnormal size of the muscles of the figure struck me at once, and turning round to my wife, who was with me, I said with a sudden inspired thought, 'The Trusts!'"
Davenport's Conception of the Trusts.
Davenport's Conception of the Trusts.
Of equal importance are the various series in lighter vein through which Mr. Opper aims to lead people to the same way of thinking politically as the paper which he serves. Long years of labor and constant production do not seem to have in any way drained his power of invention, for no sooner has one series done its work, and before the public has become sated with it, than an entirely new line of cartoons is introduced. Mr. Opper, as well as Mr. Davenport, has had his fling at and drawn his figure of the Trusts, and to place the two figures side by side is to contrast the methods and work of the men. Mr. Opper's purpose seems to be, first of all, to excite your mirth, and consequently he never fails to produce a certain effect. When you take up one of his cartoons in which the various stout, sturdy, and well-fed gentlemen typifying the different Trusts are engaged in some pleasant game the object of which is the robbing, or abusing of the pitiable, dwarfish figure representative of the Common People, your first impulse is a desire to laugh at the ludicrous contrast. It is only afterwards that you begin to think seriously how badly the abject little victim is being treated, and what a claim he has upon your sympathy and indignation. In those series which are designed entirely along party lines, such as "Willie and his Papa," this method is even more effective, since it begins by disarming party opposition.
Of such men, and the younger draughtsmen of to-day, much more might be written with sympathetic understanding and enthusiasm. But most of them belong rather to the century that has just begun rather than that which has lately closed, and a hundred years from now, whoever attempts to do for the twentieth century a service analogous to that which has here been undertaken for the nineteenth, will find an infinitely ampler and richer store of material, thanks tothis group of younger satirists in the full flood of their enthusiasm, who are valiantly carrying on the traditions of the men of the past—of Leech and Tenniel, of Daumier, and Philipon, and Cham and André Gill, of Nast and Keppler and Gillam, and who have already begun to record with trenchant pencil the events that are ushering in the dawn of the new century.
THE END