A good score of the picture papers arrived at the Oughth London from friends at home to men in the unit. That did it. There was an immediate boom in Art in the Oughth London, and sculpture became the popular spare-time hobby of the unit. This was all, as I have said, at a period when spare time was plentiful. The unit was billeted in a village well behind the firing-line in a peacefully sylvan locality. It was early summer, so that the light lasted long in the evenings, and gave plenty of opportunity to the sculptors to pursue their Art after the day’s duties were done. As a consequence the output of sculpture would have done credit—in quantity if not, perhaps, in quality—to a popular atelier in full swing. The more enterprising attempted to follow the corporal’s path in portrait and caricature, and it must be confessed were a good deal more successful in the latter branch. The portraits usually required an explanatory inscription, and although the caricatures required the same in most cases, they only had to be ugly enough, to show a long enough nose, or a big enough mouth, and to be labelled with the name of some fair butt or sufficiently unpopular noncom. to secure a most satisfying and flattering meed of praise. Less ambitious spirits contented themselves with simpler and more easily recognisable subjects. The cross or crucifix which, as a rule, marks the cross or forked roads in this part of France had from the first caught the attention and interest of the Londoners, and now, in the new flush of Art, provided immediate inspiration. Almost every man in the new school of sculpture graduated through a course of plain crosses to more fancy ones, and higher up the scale to crucifixes. But in point of popularity even the cross sank to second place when Private Jimmy Copple, with an originality that amounted almost to genius, turned out a miniature model coffin. The coffin, as a work of art, had points that made it an unrivalled favourite. It was so obviously and unmistakably a coffin that it required no single word of explanation or description; it was simple enough in form to be within the scope of the veriest beginner; it lent itself to embellishment and the finer shades of reproduction in nails and tassels and name-plate; and permitted, without evidence of undue “swank” on the part of the artist, of his signature being appended in the natural and fitting place on the name-plate.