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 facade 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 habitues, 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.”