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.
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.
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.
