government departments. Plans to increase control over public relations divisions in other departments were duly dropped and closer co-operation sought in their place. Bracken's experience as a newspaper proprietor encouraged a similar approach with regard to the press and he maintained that the MOI should not impinge upon the right to free speech. Bracken was keen to promote a more limited role in the field of domestic propaganda. He insisted that the MOI should stop "lecturing" the public and publicly questioned its ability to "stimulate British Morale". The MOI was instead encouraged to provide background information to particular events whilst providing technical support to other departments. Bracken also insisted that the MOI should be dissolved at the end of the war with Germany and that its activities made it inappropriate to peacetime conditions. Post War, 1945–46 The MOI was dissolved in March 1946, with its residual functions passing to the Central Office of Information (COI), a central organisation providing common and specialist information services. Campaigns Campaigns carried out included themes such as the following: The Home Front Production – Salvage Allied Unity The Fighting Forces Personalities Working practices For home publicity, the ministry dealt with the planning of general government or interdepartmental information, and provided common services for public relations activities of other government departments. The Home Publicity division undertook three main types of campaigns: those requested by other government departments, specific regional campaigns, and those it initiated itself. Before undertaking a campaign, the MOI would ensure that propaganda was not being used as a substitute for other activities, including legislation. The General Production Division (GPD), one of the few divisions to remain in place throughout the war, undertook technical work under Edwin Embleton. The GPD often produced work in as little as a week or a fortnight, when normal commercial practice was three months. Artists were not in a reserved occupation and were liable for call up for military service along with everyone else. Many were recalled from the services to work for the ministry in 1942, a year in which £4 million was spent on publicity, approximately a third more than in 1941. £120,000 of this was spent on posters, art and exhibitions. Of the many officially employed war artists, several, including Eric Kennington, Paul Nash and William Rothenstein, were war artists during both World Wars. Many extra designs were prepared to cope with short lead-times and the