Among the emblems of the time, however, there is in Paris one statue on exhibition which offends good taste, and even an Englishman can see that it may become ludicrous. It is the marble figure representing the "_Republique Francaise pendant la guerre_," now placed at the head of the Tuileries Gardens. It is Madame France wearing a _poilu's_ helmet. There is a look of triumph in her upturned face. France in her has become younger. Most figures of France are Diana-like, but here apparently is one the tender contour of whose limbs is not official but intimate. A policeman is in charge, but it verges on the indiscreet to ask him any questions. One dare be certain that Paris will not accept this statue, for though it expresses something of the new spirit of France, it is not in perfect taste, it is not quite dignified. There is something very characteristic of France in the thousands of seeming-widows whom you see clad in becoming weeds. The widow's veil raises the dignity of the Frenchwoman and confirms her piety so that she feels like a Madonna when her husband is dead, and loves to walk like one. Some wear this attire without being widowed--it conforms so well to a secret desire. The demure widow so dressed has much charm. There is, however, another and a better type, and that is the Joan of Arc type of young Frenchwoman so often overlooked in a survey of French reality. The new, bright, white marble figure of Joan in the cathedral of Notre-Dame is worth a prayer for France. One has met Joan in life, she is generally sixteen or seventeen, ardent, heroic, romantic, with the poetry of Corneille and Racine upon her lips. She is full of effervescent devotion, impetuous and entirely "pure." What happens to her in modern France it would be difficult to say. The English do not come and burn her for a witch; but English people do not like the type, do not understand it, and generally prefer the insincere Madonnas or the Madame Bovarys of France. But to understand France one must take cognizance of this feminine crusading spirit. Much that is genuine and worth while in France can be associated with the type of Joan. Even in the midst of modern politics one should look for Joan. French aspirations has a grand turn. We think of the French as realists, but they are romanticists. They look back and then look forward. They see events with long black shadows as at sunset. They harangue themselves. In the English people humour comes to chase the romantic away and it will not let us get into a heroic vein. But not so with the French. Their humour is weak. So at school, in books, in inscriptions on statues, in public speeches, you will constantly come upon the heroic, romantic strain, and you will find adjurations to the French people: "_Francais, elevez vos ames et vos resolutions a la hauteur des perils qui fondent sur la patrie. Il depend encore de vous de montrer a l'univers ce qu'est un peuple qui ne veut pas perir_," as it says on