MEN I HAVE PAINTED
ments of England, France, Italy, and Germany, to make lithographic drawings, as artistic documents of reference of their great industrial works: and prior to, and during the war he was in communication with Ministers of War and Lords of the Admiralty, who desired drawings of navy yards, battleships and cruisers, munition works and gun factories. His life became intensely amusing, as he would say, for he daily met men of all ranks, in the army and navy, who knew what guns and ships were, but who did not know anything about Art. In the end, when America declared war, he had to leave his beloved Thames, which he overlooked from the many windows of his wonderful atelier in the Adelphi quarter. The Zeppelins had increased in number and in the frequency of their visits, and the flare of the searchlights, the flashing of anti-aircraft guns, the bursting of bombs, all of which were plainly visible from his high point of vantage, or disadvantage, gave him the most thrilling effects for the exercise of his genius.
In America, Pennell found fresh opportunities for the display of his energies. The American Government, like the English and French, employed him to make drawings of the battleships, of the munition works, and armament factories, and to assist in advertising the war loans. He threw himself into the work with enthusiasm and zeal, giving his time and his talent, without remuneration, to the printing and distribution of war posters throughout the land.
No one in the country excelled this Anglo-American Quaker in enthusiasm and self-sacrifice in aiding the American Government and the people in that critical time. In order to procure the sinews of war, he displayed throughout the Union a series of lithographs illustrating, in imagi-
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