Half of the statues on the broad facade of the cathedral had been broken, and now the niches afforded domiciles for families of pigeons. On the ground, in a careless pile, to one side of the frontal arch, was an ignominious pile of miscellaneous arms and legs and heads of sculptured figures, resting there in anything but saintly dignity. Two of our young artillerymen were standing in front of the cathedral surveying it. "Certainly is in need of repairs," said one of them. "I'll bet they haven't done no bricklaying or plumbing on this place since before the Civil War." "That ain't hardly the right way to treat old Saints," replied his companion, referring to the pile of broken statuary. "Seems like they ought to cement the arms and legs and heads back on those old boys and old girls and put them back on their pedestals. I guess, though, there ain't nobody living to identify the pieces, so they could get the right arms and heads on the right bodies." Our battery had among its drivers an old timer who might have been called a historian. His opinion held weight in the organisation. He professed to be able to read American ball scores and war news out of French newspapers, a number of which he always carried. Later that day, I heard him lecturing the cathedral critics on their lack of appreciation of art and history. "New things ain't art," he told them; "things has got to be old before they are artistic. Nobody'd look at the Venus dee Milo if she had all her arms on. You never hear nobody admiring a modern up-to-date castle with electric lighting and bath tubs in it. It simply ain't art. "Now, this cathedral is art. This country around here is just full of history. Here's where whole book stores of it was written. Why, say, there was batteries of artillery rolling through this country a million years ago. It was right around here that Napoleon joined forces with Julius Caesar to fight the Crusaders. This here is sacred ground." In the evening, a number of the battery, located the _buvette_ that carried across its curtained front the gold lettered sign _bar Parisian_. It was a find. Some thirty American artillerymen crowded around the tables. Cigarette smoke filled the low-ceilinged room with blue layers, through which the lamp light shone. In one corner stood a mechanical piano which swallowed big copper sous and gave out discord's metallic melody. It was of an American make and the best number on its printed programme was "Aren't you Coming Back to Old Virginia, Molly?" Sous followed sous into this howitzer of harmony and it knew no rest that night. Everybody joined in and helped it out on the choruses.