Perhaps the most famous of all the admirable cartoons dealing with l'Affaire was 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 spirit of 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).
The last Phase of the Dreyfus Case.
Justice takes Dreyfus into her car.
From "Amsterdammer."