of a Neutral who knew.’ After the first exhibition in London, many others followed suit, first in the United Kingdom and France, soon afterwards in many countries over the world. Albums, pamphlets, posters, postcards and cigarette cards bearing reproductions of his work soon became also available. His drawings were even recreated as tableaux vivants. The total number of Raemaekers' cartoons distributed in this major propaganda effort increased quickly into the millions. United States From the summer of 1916 onwards efforts were made to distribute Raemaekers' work in the most powerful of the neutral countries, the United States. At the request of Wellington House Raemaekers visited the USA in 1917 to draw attention to his work. The United States had declared war on Germany shortly before, and the Allies hoped that his presence would sway public opinion to their cause. His tour was a triumph. Raemaekers gave lectures and interviews, drew caricatures for the movie cameras, was a popular guest at society functions, and met President Woodrow Wilson and former President Theodore Roosevelt. Soon after his arrival he signed – to everyone's surprise – a contract with the International News Service, the syndicate of William Randolph Hearst. The Hearst newspapers were viewed as pro-German and had been cut off from all Allied news sources. But Raemaekers' own theory: "this is the most important target group because the readers are poisoned daily by tendentious articles" proved successful. Statistics show that by October 1917, more than two thousand American newspapers had published Raemaekers’ cartoons in hundreds of millions of copies. The popularisation of his work is regarded as the largest propaganda effort of the First World War. Between the wars Following the end of the First World War, Louis Raemaekers settled in Brussels. He was an advocate of the League of Nations and devoted many sketches and articles to the cause of unity in Europe. Meanwhile, he kept a close and suspicious eye on events in Germany. Interest in his work waned in Britain and France, where his war cartoons were still fresh in the public's memory. People had had enough of his depictions of atrocities. A Dutch publisher rejected a collection of his illustrations because ‘the public is rather weary of war topics’. In 1927 he created a comic book about TBC named Gezondheid Is De Grootste Schat. In the thirties, however, people began to think that Raemaekers might be right about