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Above the Battle

that she reforms herself, and her greatest geniuses are sons of sorrow.

September 1914.

Since these lines were written I have watched the birth of the anxiety which little by little is making its way into the consciences of the good people of Germany. First a secret doubt, kept under by a stubborn effort to believe the bad arguments collected by their Government to oppose it—documents fabricated to prove that Belgium had renounced her neutrality herself, false allegations (in vain repudiated four times by the French Government, by the Commander-in-Chief, by the Cardinal and the Archbishop, and by the Mayor of Rheims)—accusing the French of using the Cathedral of Rheims for military purposes. Lacking arguments, their system of defence is at times disconcerting in its naïveté.

"Is it possible," they say, "that we should be accused of wishing to destroy artistic monuments, we, the people above all others who venerate art, in whom is instilled this respect from infancy, who have the greatest number of text books and historical collections of art and

the longest list of lectures on æsthetics? Is it