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which they spring from the racial feeling of the latter. Humane and aesthetic ideals will disappear from the inhabited earth when those races disappear which are the creators and standard-bearers of them.

All such ideals are only of secondary importance when a nation is struggling for its existence. They must be prevented from entering into the struggle the moment they threaten to weaken the stamina of the nation that is waging war. That is always the only visible effect whereby their place in the struggle is to be judged.

In regard to the part played by humane feeling, Moltke stated that in time of war the essential thing is to get a decision as quickly as possible and that the most ruthless methods of fighting are at the same time the most humane. When people attempt to answer this reasoning by highfalutin talk about aesthetics, etc., only one answer can be given. It is that the vital questions involved in the struggle of a nation for its existence must not be subordinated to any aesthetic considerations. The yoke of slavery is and always will remain the most unpleasant experience that mankind can endure. Do the Schwabing¹ decadents look upon Germany's lot to-day as 'aesthetic'? Of course, one doesn't discuss such a question with the Jews, because they are the modern inventors of this cultural perfume. Their very existence is an incarnate denial of the beauty of God's image in His creation.

Since these ideas of what is beautiful and humane have no place in warfare, they are not to be used as standards of war propaganda.

During the War, propaganda was a means to an end. And this end was the struggle for existence of the German nation. Propaganda, therefore, should have been regarded from the standpoint of its utility for that purpose. The most cruel weapons were then the most humane, provided they helped towards a speedier decision; and only those methods were good and beautiful which helped towards securing the dignity and freedom of the nation. Such was the only possible attitude to adopt towards war propaganda in the life-or-death struggle.

If those in what are called positions of authority had realized this there would have been no uncertainty about the form and employment of war propaganda as a weapon; for it is nothing but a weapon, and indeed a most terrifying weapon in the hands of those who know how to use it.

The second question of decisive importance is this: To whom should propaganda be made to appeal? To the educated intellectual classes? Or to the less intellectual?

Propaganda must always address itself to the broad masses of the people. For the intellectual classes, or what are called the intellectual classes to-day, propaganda is not suited, but only scientific exposition. Propaganda has as little to do with science as an advertisement poster has to do with art, as far as concerns the form in which it presents its message. The art of the advertisement poster consists in the ability of the designer to attract the attention of the crowd through the form and colours he chooses. The advertisement poster announcing an exhibition of art has no other aim than to convince the public of the importance of the exhibition. The better it does that, the better is the art of the poster as such. Being meant accordingly to impress upon the public the meaning of the exposition, the poster can never take the place of the artistic objects displayed in the exposition hall. They are something entirely different. Therefore. those who wish to study the artistic display must study something that is quite different from the poster; indeed for that purpose a mere wandering through the exhibition galleries is of no use. The student of art must carefully and thoroughly study each exhibit in order slowly to form a judicious opinion about it.

The situation is the same in regard to what we understand by the word, propaganda.

The purpose of propaganda is not the personal instruction of the individual, but

¹ Schwabing is the artistic quarter in Munich where artists have their studios and litterateurs, especially of the Bohemian class, foregather.