in the show house to get that fifty dollars with its favourite son. And every night some favourite son almost gets it. And if the strong man didn't fudge a little, pinch the favourite son's hands on the pole and make him let go, almost every night the strong man would be worsted. The struggle sets the house yelling. It is the only real drama in Paris. We noticed that the shows of Paris which appealed to the eyes and ears were far below the American standard. In comedy which appeals to something behind the sense, in the higher grades of acting, the Paris shows were, on the whole, better than Broadway shows. But in the choruses, the dancers lack that finish, that top dressing of mechanical unison required by American taste. Moreover the lighting and colour were poor. The music at the Follies was Victor Herbert of 1911! Old American popular songs seemed to be in vogue. One heard "O Johnny" and "Over There" at every vaudeville house this year. Sometimes they were done in French, sometimes in English. In Genoa, one may say in passing that we heard one of the songs from "Hitchy-Coo" done in Italian. It was eery! American artists are popular in Paris. We saw a girl at three show houses in Paris, under the name of Betty Washington, doing a gipsy dance, playing the fiddle. She was barefoot, and Henry, who has a keen eye, noticed that she had her toes rouged! But she always was good for four encores, and she usually got a good start at the fifth from Henry and me; we had just that much national pride! Great throngs of soldiers filled these gay show houses. The French, the English, and the Australians seemed satisfied with them. But the Canadians and Americans sniffed. To them Paris is a poor show town.