Great black spots of shadow cast by wasteful masses of white clouds were lying heavily over those new and ancient battle-fields. Forever obliged to protect themselves from some invader, the villages hide rather than display themselves, and are barely detached from the silvery brown of the plain, crossed here and there by the bosky lines of the Meuse, or those of the great canal joining the French river to the Rhine. And each tiny hill has been an altar or a fortress, often both at once. Over the majestic, melancholy stretch Romans have passed, the hosts of Attila, Normans, Germans, Burgundians, Swedes, English, and many others. Now its white roads sound to the tramp of American armies, are encumbered by giant quantities of war material brought from over the seas. And of all who have passed over it, of the most ancient even, much remains. Close against one another are Roman encampments, feudal castles, the two-sided, two-faced bastion defenses of Vauban, the great, mined earthworks of modern times, and now in leafy darknesses are the cement emplacements of the big guns of the twentieth century. But alas! as I turned to go, pulling my gaze from the wide horizon (a pale, pale pink where it covered the western way to the city that is the heart of France), I saw on that slope, directly under me, a cruel statue of Jeanne d’Arc. A stiff yet boneless Pucelle sat astride an equally stiff yet boneless steed; both seemed about to drop into space, the mountain falling away from them, and both were of a dreadful superfluity! However, one isn’t so plagued with horrid modern statues in Alsace as in other places I have been, for they run rather to fountains and living waters. At St.-Amarin, for instance, I don’t remember anything later or more personal than the fiery Gallic cock, “_der spuckende Welschhahn_,” surmounting a sphere, borne in turn by the column of the 1830 fountain; and the fountain in the Place du Chapitre at Masevaux, bearing the date 1768, has a single, lovely column, too, on whose top burns a stone flame in an urn. And the shaft of the fountain of the wine-growers at Thann is a mass of rich yet noble carving, surmounted by a helmeted figure bearing a shield on his back. Furthermore, crystal water flows into its six-sided emblazoned basin. I think of the statue of Thiers, _Libérateur du Territoire_, in that dusty, begonia-planted, iron-railed plot in front of the station at Nancy, and I could weep. But hereabout I haven’t found a single nineteenth-century statesman in frock-coat and top-hat, done in granite, nor any bronze female pointing him the way to a dubious heaven, with a long finger and a heavy palm-branch—and so may it remain.