mous letters warning her that any ship he might sail on
would surely be torpedoed.

As late as November, 1916, an exhibition of his cartoons in Madrid was
forbidden by the Spanish Government upon the insistence of the German
embassy in that capital.

It is significant to note that these attempted persecutions had an
effect directly opposite to that intended. They not only failed to stop
the publication of his cartoons but were largely instrumental in drawing
the attention of the Allies and neutrals to the great champion that had
arisen.

For eighteen months his cartoons had been appearing in the Amsterdam
_Telegraaf_ without exciting a more than mild interest outside Holland.

American and British war-correspondents returning to London from
Amsterdam talked enthusiastically of the "Great Raemaekers" and a few
stray cartoons appeared in the press of London and Paris. But he was
practically unknown outside of Holland until Christmas week in December,
1915, a year and a half after his first war-cartoon had appeared.

A two-line advertisement announced his arrival in the British
metropolis. "Exhibition of war-cartoons by Raemaekers, Fine Arts
Galleries, Bond Street, admission one shilling," was all it said. While
Londoners are generally interested in new artists, Raemaekers appeared
at an inopportune time. For one thing, the public had been rather
surfeited with war-literature and war-pictures and the work of an
unknown foreign artist was scarcely likely to attract them, and for
another, it was within a few days of Christmas, everybody was leaving
London, and those who remained in town were bent on giving the troops
and the war-sufferers as merry a time as possible.

It was quite by chance that the art critic of the _London Times_ visited
the Bond Street Galleries a day or so before Christmas, and Raemaekers'
world-wide fame as it exists to-day may be said to date from the day
that the _Times_ in a two-column notice said, among other things, "this
neutral is the only genius produced by the war."

The campaign of publicity launched by the _Times_ was taken up by the
British and French press. The public flocked to view, and were stunned
as they had never been before by the damning record. The cumulative
effect of such pictures as "The Shields of Rosselaere," showing men,
women, and children forced to march in front of the German armies, "Men
to the right, women to the left," in which women and children are being
beate