The cars, which were both smaller and lighter than those from the airships brought down in England, were all underslung, and none of them was enclosed in the framework, as had often been stated. Even these were not built entirely of metal, heavy fabric being used to close up all spaces where strength was not required. The bomb-dropping devices had been removed, but the numbered "switchboard" in the rearmost car, from which they could be released, still remained. The cars, free from every kind of protuberance that could meet the resistance of the air, were effectively and gracefully "stream-lined." The framework and bodies of the cars were made of the light but strong "duraluminum" alloy, which the Germans have spent many years in perfecting for this purpose. A small fragment of strut which I picked up under "L-68" has proved, on comparison, considerably lighter in specific gravity than similar pieces from three of the Zeppelins brought down early in the war. Indeed, in spite of its admixture of heavier metals for "stiffening," the latest alloy seems scarcely heavier than aluminum itself. The inspection of an airship to see that it had been disarmed according to the provisions of the armistice was, as may be imagined, rather more of a job than a similar inspection of even a "giant" seaplane. In a Zeppelin that is more or less the same size as the _Mauretania_ the distances are magnificent, and while most of the inspection was confined to the cars, that of the wireless, with a search for possible concealed machine-gun mountings, involved not a little climbing and clambering. One's first sight of the interior of a deflated Zeppelin--in an inflated one the bulging ballonettes obstruct the view considerably--is quite as impressive in its way as the premier survey of it from the outside. No 'tween decks prospect in the largest ship afloat, cut down as it is by bulkheads, offers a fifth of the unbroken sweep of vision that one finds opened before him as he climbs up inside the tail of a modern airship. Although airy ladders and soaring lengths of framework intervene, they are no more than lace-work fretting the vast space, and the eye roams free to where the side-braces of the narrow "walk" seem to run together in the nose. Only, so consummate the illusion wrought on the eye and brain by the strange perspective, that "meeting point" seems more like six hundred miles away than six hundred feet. The effect is more like looking to the end of the universe than to the end of a Zeppelin. No illusion ever devised on the stage to give "distance" to a scene could be half so convincing. All that was "cosmic" in you vibrated in sympathy, and it took but a shake of the reins of the imagination to fancy yourself tripping off down that unending "Road to Anywhere" to the music of the Spheres. You--