about the Romanesque towers of Notre Dame rustles with the movement of war. The square before the principal hotel—the incomparably named "Haute Mere-Dieu"—is as vivid a sight as any scene of modern war can be. Rows of grey motor-lorries and omnibuses do not lend themselves to as happy groupings as a detachment of cavalry, and spitting and spurting motor-cycles and "torpedo" racers are no substitute for the glitter of helmets and the curvetting of chargers; but once the eye has adapted itself to the ugly lines and the neutral tints of the new warfare, the scene in that crowded clattering square becomes positively brilliant. It is a vision of one of the central functions of a great war, in all its concentrated energy, without the saddening suggestions of what, on the distant periphery, that energy is daily and hourly resulting in. Yet even here such suggestions are never long out of sight; for one cannot pass through Chalons without meeting, on their way from the station, a long line of "eclopes"—the unwounded but battered, shattered, frost-bitten, deafened and half-paralyzed wreckage of the awful struggle. These poor wretches, in their thousands, are daily shipped back from the front to rest and be restored; and it is a grim sight to watch them limping by, and to meet the dazed stare of eyes that have seen what one dare not picture.

If one could think away the "'eclopes" in the streets and the wounded in their hospitals, Chalons would be an invigorating spectacle. When we drove up to the hotel even the grey motors and the sober uniforms seemed to sparkle under the cold sky. The continual coming and going of alert and busy messengers, the riding up of officers (for some still ride!), the arrival of much-decorated military personages in luxurious motors, the hurrying to and fro of orderlies, the perpetual depleting and refilling of the long rows of grey vans across the square, the movements of Red Cross ambulances and the passing of detachments for the front, all these are sights that the pacific stranger could forever gape at. And in the hotel, what a clatter of swords, what a piling up of fur coats and haversacks, what a grouping of bronzed energetic heads about the packed tables in the restaurant! It is not easy for civilians to get to Chalons, and almost every table is occupied by officers and soldiers—for, once off duty, there seems to be no rank distinction in this happy democratic army, and the simple private, if he chooses to treat himself to the excellent fare of the Haute Mere-Dieu, has as good a right to it as his colonel.

The scene in the restaurant is inexhaustibly interesting. The mere attempt to puzzle out the different uniforms is absorbing. A week's experience near the front convinces me that no two uniforms in the French army are alike either in colour or in cut. Within the last two years the question of colour has greatly preoccupied the French military authorities, who have been seeking an invisible blue; and the range of their experiments is proved by the extraordinary variety of shades of blue, ranging from a sort of greyish robin's-egg to the darkest navy, in which the army is clothed. The result attained is the conviction that no blue is really inconspicuous, and that some of the harsh new slaty tints are no less striking than the deeper shades they have superseded. But to this scale of experimental blues, other colours must be added: the poppy-red of the Spahis' tunics, and various other less familiar colours—grey, and a certain greenish khaki—the use of which is due to the fact that the cloth supply has given out and that all available materials are employed. As for the differences in cut, the uniforms vary from the old tight tunic to the loose belted jacket copied from the English, and the emblems of the various arms and ranks embroidered on these diversified habits add a new element of perplexity. The aviator's wings, the motorist's wheel, and many of the newer symbols, are easily recognizable—but there are all the other arms, and the doctors and the stretcher-bearers, the sappers and miners, and heaven knows how many more ramifications of this great host which is really all the nation.

The main interest of the scene, however, is that it shows almost as many types as uniforms, and that almost all the types are so good. One begins to understand (if one has failed to before) why the French say of themselves: "La France est une nation guerriere." War is the greatest of paradoxes: the most senseless and disheartening of human retrogressions, and yet the stimulant of qualities of soul which, in every race, can seemingly find no other means of renewal. Everything depends, therefore, on the category of impulses that war excites in a people. Looking at the faces at Chalons, one sees at once in which [Page 54] sense the French are "une nation guerriere." It is not too much to say that war has given beauty to faces that were interesting, humorous, acute, malicious, a hundred vivid and expressive things, but last and least of all beautiful. Almost all the faces about these crowded tables—young or old, plain or handsome, distinguished or average—have the same look of quiet authority: it is as though all "nervosity," fussiness, little personal oddities, meannesses and vulgarities, had been burnt away in a great flame of self-dedication. It is a wonderful example of the rapidity with which purpose models the human countenance. More than half of these men were probably doing dull or useless or unimportant things till the first of last August; now each one of them, however small his job, is sharing in a great task, and knows it, and has been made over by knowing it.

Our road on leaving Chalons continued to run northeastward toward the hills of the Argonne.

We passed through more deserted villages, with soldiers lounging in the doors where old women should have sat with their distaffs, soldiers watering their horses in the village pond, soldiers cooking over gypsy fires in the farm-yards. In the patches of woodland along the road we came upon more soldiers, cutting down pine saplings, chopping them into even lengths and loading them on hand-carts, with the green boughs piled on top. We soon saw to what use they were put, for at every cross-road or railway bridge a warm sentry-box of mud and straw and plaited pine-branches was plastered against a bank or tucked like a swallow's nest into a sheltered corner. A little farther on we began to come more and more frequently on big colonies of "Seventy-fives." Drawn up nose to nose, usually against a curtain of woodland, in a field at some distance from the road, and always attended by a cumbrous drove of motor-vans, they looked like giant gazelles feeding among elephants; and the stables of woven pine-boughs which stood near by might have been the huge huts of their herdsmen.

The country between Marne and Meuse is one of the regions on which German fury spent itself most bestially during the abominable September days. Half way between Chalons and Sainte Menehould we came on the first evidence of the invasion: the lamentable ruins of the village of Auve. These pleasant villages of the Aisne, with their one long street, their half-timbered houses and high-roofed granaries with espaliered gable-ends, are all much of one pattern, and one can easily picture what Auve must have been as it looked out, in the blue September weather, above the ripening pears of its gardens to the crops in the valley and the large landscape beyond. Now it is a mere waste of rubble [Page 58] and cinders, not one threshold distinguishable from another. We saw many other ruined villages after Auve, but this was the first, and perhaps for that reason one had there, most hauntingly, the vision of all the separate terrors, anguishes, uprootings and rendings apart involved in the destruction of the obscurest of human communities. The photographs on the walls, the twigs of withered box above the crucifixes, the old wedding-dresses in brass-clamped trunks, the bundles of letters laboriously written and as painfully deciphered, all the thousand and one