The artists of neutral countries who still kept to their lodgings in the Quartier Latin and fanned the little flame of inspiration which kept them warm though fuel is dear, could not get any publicity for their works. There was no autumn or spring salon in the Palais des Beaux- Arts, where every year till war came one might watch the progress of French art according to the latest impulse of the time stirring the emotions of men and women who claim the fullest liberties even for their foolishness. War had killed the Cubists, and many of the Futurists had gone to the front to see the odd effects of scarlet blood on green grass. The Grand Palais was closed to the public. Yet there were war pictures here, behind closed doors, and sculpture stranger than anything conceived by Marinetti. I went to see the show, and when I came out again into the sunlight of the gardens, I felt very cold, and there was a queer trembling in my limbs. The living pictures and the moving statuary in the Grand Palais exhibited the fine arts of war as they are practised by civilized men using explosive shells, with bombs, shrapnel, hand-grenades, mitrailleuses, trench-mines, and other ingenious instruments by which the ordinary designs of God may be re-drawn and re-shaped to suit the modern tastes of men. I saw here the Spring Exhibition of the Great War, as it is catalogued by surgeons, doctors, and scientific experts in wounds and nerve diseases. It was not a pretty sight, and the only thing that redeemed its ugliness was the way in which all those medical men were devoting themselves to the almost hopeless task of untwisting the contorted limbs of those victims of the war spirit, and restoring the shape of man botched by the artists of the death machines.