It is the spirit of the new South that is not only bringing such wonderful towns as Birmingham, to make a single instance, to the front, but is working the transformation of such staunch old settlements as Memphis or Atlanta--or Richmond. Not that Richmond is willing to forget the past. There is something about the Virginia spirit that seems incapable of death. There is something about the Virginian's loyalty to his native state, his blindness to her imperfections, almost every one of them the result of decades of civic poverty, that cannot escape the most calloused commercial soul that ever walked out of North or South. And there is something about this bringing up of spirit and of loyalty with the spirit of the new America that makes a combination well-nigh irresistible. Here, then, is the new South. The generation that liked to discuss the detail of Pickett's charge and the horrors of those days in the Wilderness is gone. The new generations are rather bored with such detail. The new generations are not less spirited, not less loyal than the old. But they are new. That, of itself, almost explains the difference. Now see it in a little closer light. Volumes have been written of the loyalty of the old South. Richmond herself today presents more volumes, although unwritten, of that loyalty. You can read it in her streets, in her fine old square houses, in that stately building atop of Schokoe hill, which generations have known as the Capitol and which was for a little time the seat of government of a new nation. Within that Capitol stands a statue. It is the marble effigy of a great Virginian, who was, himself, the first head of a new government. The guide-books call it the Houdini statue of Washington, and keen critics have long since asserted that it is not only the finest statue in the United States but one of the most notable art works of the world. It was known as such in France at the time of the Civil War. And hardly had that very dark page in our history been turned before the Louvre made overtures to Virginia for the purchase of the Houdini statue. The matter of price was not definitely fixed. France, in the spendthrift glories of the Second Empire, was willing to pay high for a new toy for her great gallery.