And yet, in two minutes, in less than two minutes, you may be in a quarter where no life is left. This considerable quarter is not seriously damaged--it is destroyed. Not many houses, but every house in it will have to be rebuilt from the cellars. This quarter is desolation. Large shops, large houses, small shops, and small houses have all been treated alike. The facade may stand, the roof may have fallen in entirely or only partially, floors may have disappeared altogether or may still be clinging at odd angles to the walls--the middle of every building is the same: a vast heap of what once was the material of a home or a business, and what now is foul rubbish. In many instances the shells have revealed the functioning of the home at its most intimate, and that is seen which none should see. Indignation rises out of the heart. Amid stacks of refuse you may distinguish a bath, a magnificent fragment of mirror, a piece of tapestry, a saucepan. In a funeral shop wreaths still hang on their hooks for sale. Telephone and telegraph wires depend in a loose tangle from the poles. The clock of the Protestant church has stopped at a quarter to six. The shells have been freakish. In one building a shell harmlessly made a hole in the courtyard large enough to bury every commander of a German army; another shell--a 210 mm.--went through an inner wall and opened up the cellars by destroying 150 square feet of ground-floor: ten people were in the cellars, and none was hurt. Uninjured signs of cafes and shops, such as "The Good Hope," "The Success of the Day," meet your gaze with sardonic calm. The inhabitants of this quarter, and of other quarters in Rheims, have gone. Some are dead. Others are picnicking in Epernay, Paris, elsewhere. They have left everything behind them, and yet they have left nothing. Each knows his lot in the immense tragedy. Nobody can realise the whole of the tragedy. It defies the mind; and, moreover, the horror of it is allayed somewhat by the beautiful forms which ruin--even the ruin of modern ugly architecture--occasionally takes. The effect of the pallor of a bedroom wall-paper against smoke-blackened masonry, where some corner of a house sticks up like a tall, serrated column out of the confusion, remains obstinately in the memory, symbolising, somehow, the grand German deed.