No means to get people to invest in War Bonds can be seriously
objected to; but I must confess that when, on a railway station
hoarding, I caught sight of a poster representing WHISTLER'S famous
portrait of his mother, with the words, "Old Age is Coming," printed
across it, beneath an appeal to the public to be prudent about the
future by buying Government stock now, I experienced a jolt. Because
this picture has always been one of the sacred things, and to see it
again was a necessary part of any visit to Paris. As to the shock
which the sight would have caused the painter, were he alive to-day,
the pen prefers to say little. Even with three patriotic motives to
control him--for he was American by birth, French by sympathy, and
English by residence--WHISTLER must have delivered his mind. That he
would consider this anything but a gentle art of breaking enemies, is
certain; nor can I see him holding his peace about it.
[Illustration: "These good dogs would prefer WAR BONDS to a bone."]
Personally, however, I got over my own sense of the outrage very
quickly. For the new War Bonds must succeed, and the end justifies the
means, however desperate--that is how I looked at it, and therefore,
instead of maintaining an attitude of preciosity, I began to wonder
how I could assist the authorities (who had dared to bend the
Butterfly to their purpose) to further useful acts of vandalism.
Nothing should, I determined, stand in my way. Where they were merely
"hairy," I would be absolutely bald-headed. Hence, if there is
anything in the suggestions that follow which may set the teeth of
the reverent on edge, it must be attributed to honest zeal. All that
I want is for the Kennedy-Jones of the movement to lift Art from her
pedestal for a few days only--in the interests of the Allies and to
the lasting detriment of Germany--and then replace her. But there is
no need to trouble about the replacing. That will be automatic.
Beginning with the postulate that War's sinews must be forthcoming, or
HAIG and BYNG will batter at the Hun to insufficient purpose, we can
do anything. Let then, I say, all the artists be conscripted, whether
old masters or young. The façade of the National Gallery is to-day one
vast hoarding advertising the progress of the Loan; let us go inside
and levy upon its treasures too. A few pictorial suggestions will be
found on this page; others will occur to its habitués, and doubtless
the Trustees (although Lord LANSDOWNE is one) will be only too glad
to fall in with the project.
[Illustration: "She's happy. She's bought WAR BONDS."]
BURNE-JONES'S "Cophetua and the Beggar Maid" hangs, for instance, in
the National Gallery--temporarily borrowed from the Tate--at this
moment. It would make a good piece of propaganda. "Why is the maid a
beggar?" "Because her parents had not provided against the future by
provident and patriotic speculation." Close by hangs, also on loan
from the Tate, CECIL LAWSON'S "Harvest Moon." "Why on this most
favourable of nights is there no raid?" "Because the success of the
War Bonds brought about Germany's surrender." After the authorities'
most admirable and desirable way with WHISTLER'S mother, you can do
anything and should do anything. That is my point.
[Illustration: "Cut your cloth to leave a BIG margin for WAR BONDS."]
And not only the National Gallery, but the galleries of France and
Italy, and even Germany herself. Perhaps Germany first of all, for
there would be a piquancy in thus employing the cherished possessions
of the foe. Could not something be done, for example, with the famous
wax bust, the glory of the Kaiser Friedrich Collection, into which
LEONARDO DA VINCI, as a finishing touch, crammed an early Victorian
waistcoat before delivering the masterpiece to its owner? A really
ingenious organiser should be able to make telling use of that,
perhaps with a play on the word "investment." But meanwhile LEONARDO
would, I am sure, be only too willing to suppress his sensitive
feelings and assist his fellow-countrymen in their stand on the Piave
by contributing "Monna Lisa." Some such words as these would serve:
"Why is she smiling that satisfied smile?" "Because she has bought a
nice little packet of War Bonds and thus insured a comfortable old
age." At the same time TITIAN could help to save his Venice by lending
the "Venus" from the Uffizi. "Why is this lady so naked?" "Because she
neglected to invest in War Bonds, and thus had nothing with which
to buy clothes later on." Or, if a French or English picture were
preferred, INGRES' "La Source," from the Louvre, or LEIGHTON'S "Bath
of Psyche" from the National Gallery, could be used with the same
touching legend. But I feel that TITIAN should have the first chance.
And there are living painters too who would come in. Our own old
master--AUGUSTUS JOHN (who is now, I am told, a major)--would, no
doubt, be delighted to lend the hoardings one of the pictures from
his exhibition now in progress. The portrait of Mr. G.B. SHAW, for
example, in which the eyes of the great seer are closed. "Why is
this old gentleman not looking at you?" "Because he is afraid you
may not have bought any War Bonds and he can't bear to see anything
unpatriotic."
But enough has been said. The National War Bonds must be sold, and Art
must help, and no one must wince.
* * * * *
[Illustration: _Mother_ (_in course of an arithmetic lesson_). "WHAT
IS HALF FOUR?"
_Daughter_. "TWO."
_Mother_. "AND CAN YOU TELL ME WHAT IS HALF FIVE?"
_Daughter_. "WELL, MUMMIE, IT DEPENDS WHICH HALF YOU MEAN--THE TWO OR
THE THREE."]
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