Ah, but now comes another edition of Liberty; this time no less a personage than Lillie Bell, who, in the old costume worn over a year ago on the lawn of the big gray house, was standing on a chariot, an old farm wagon ablaze with the colors of Freedom, driven by four soldiers, representing France, England, Belgium, and America. The young goddess with sad and tragic eyes shining from beneath her helmet, gazed straight before her as she held a drawn sword clasped closely to her breast, in a graceful pose beneath the colors of the Allies floating gayly above her head. Yes, there was no doubt, as Helen had often said, Lillie was born for stellar rôles, for somehow she had the happy faculty of always falling into the desired attitude and mood of the part she was to portray. A sudden silence gripped the line of people standing on the curb, as they saw this familiar figure of Liberty, in a new and strange rôle. On a beflagged chair of state good old Uncle Sam was seated, driving America’s symbol of Freedom with reins of roses. Yes, roses to typify that the good protector of the United States’ joys and interests was on the job,—as the Sport expressed it,—but doing it with the silken reins of love. In the rear of this float a very small one appeared, but it was large enough to display a cannon and a pile of cannon-balls, and also a member of the United States Marines’ crack quartet of machine-gunners. As he was the genuine article, as one of the girls declared,—being one of the town’s boys home on a leave of absence, and held a Lewis gun, he was received with wild cheers. A Jackie was perched on what was supposed to be a conning-tower, apparently on the watch for a submarine, while another soldier of the seas was ramming an old cannon, which created much laughter. It wasn’t much of a naval display, Nathalie thought regretfully, but it was the best they could do with their poor equipment, for these Daughters of Freedom were resolved to give due honor to these brave guardians of the sea. A contingent of husky young chaps from Camp Mills were lionized as soon as their khaki-clad figures were sighted on the next float, which was marked, “Liberty Boys.” A somewhat crude representation of a trench, piled with sand-bags, with a few boys in tin hats, with guns in their hands, clambering over it, represented to the spectators an “Over the Top” scene. In the rear of the trench a few soldiers were grouped around a camp-fire, presumably in a rest _billet_, having “eats.” Every moment or so a soldier on this float would break forth into some war-song, which was quickly taken up by his comrades, and which helped to make the scene very realistic.