al
lot of fellows to a first-class scoop. As the "authentic spy-picture of
the war," it has had a broadcast circulation. I have seen it in
publications ranging all the way from The Police Gazette to
"Collier's Photographic History of the European War." In a
university club I once chanced upon a group gathered around this
identical picture. They were discussing the psychology of this "poor
devil" in the moments before he was shot. It was a further source
of satisfaction to step in and arbitrarily contradict all their
conclusions and, having shown them how totally mistaken they
were, proceed to tell them exactly how the victim felt. This high-
handed manner nettled one fellow terribly:

"Not so arbitrary, my friend!" he said. "You haven't any right to be
so devilish cocksure."

"Haven't I?" I replied. "Who has any better right? I happen to be
that identical man!" But that little episode has been of real value to
me. It is said that if one goes through the motions he gets the
emotions. I believe that I have an inkling of how a man feels when
he momentarily expects a volley of cold lead to turn his skull into a
sieve.

That was a very timely picture. It filled a real demand. For spies
were at that time looming distressingly large in the public mind.
The deeds they had done, or were about to do, cast a cold fear
over men by day and haunted them by night. They were in the
Allies' councils, infesting the army, planning destruction to the
navy. Any wild tale got credence, adding its bit to the general
paralysis, and producing a vociferous demand that "something be
done." The people were assured that all culprits were being duly
sentenced and shot. But there was no proof of it. There were no
pictures thereof extant. And that is what the public wanted.

"Give the public what it wants," was the motto of this enterprising
newspaper man. Herewith he supplied tangible evidence on which
they could feast their eyes and soothe their nerves.

As to the ethics of these pictures, they are "true" in that they are
faithful to reality. In this case the photographer acted up to his
professional knowledge and staged the pictures as he had actually
seen the spy shot. They must find their justification on the same
basis as fiction, which is "the art of falsifying facts for the sake of
truth." And who would begrudge them the securing of a few
pictures with comparative ease?

Most of the pictures which the public casually gazes on have bee