During the last year there has come into French art a new era of the
silhouette. In every art store in Paris one sees wonderful silhouettes
which tell the story of the horror of the Hun better than any words can
paint it, and when one attempts to paint it he must attempt it in word
silhouettes.
The silhouette catches the picture better than color. Gaunt, naked,
ruined cathedrals, homes, towers, and forests are better pictured in
black silhouettes than any other way. There is nothing much left in
some places in France but silhouettes.
Those who have seen Rheims know that the best reproduction of its ruins
has been conveyed by the simple silhouette of the artist. There it
stands outlined against the sky. Rheims that was once the wonder of
the world is now naked ruins, tottering walls, with its towers still
standing, looming against the sky like tottering trees. And when,
during the past year, the walls fell, they:
"Left a lonesome place against the sky"
of all the world.
The church at Albert was like that. Only a silhouette can describe or
picture it. There it stood against the sky by day and night, with the
figure on its top leaning. The old legend of the soldiers that when
the figure of the Virgin fell to the earth the war would end has been
dissipated, for during the last drive that figure fell, and the tower
with it. But forever (although it has fallen to dust and debris,
because of descriptions we have seen of it) it shall stand out in our
memories like a lonely, toppling tree against a crimson sunset!
Every day on the Toul line we used to drive through a village that had
been shelled until it was in ruins. Only the tower and the walls of a
beautiful little church remained. Every other house in the village was
razed to the ground. Nothing else remained.
There it stands to this day, for when I saw it last in June it was
still standing as it was in January. Every evening about sunset we
used to drive down that way, taking supplies to the front-line huts.
Many things stand out in one's memory of a certain road over which he
drives night after night and day after day. There is the cross at the
forks of the roads. There is the old monastery, battered and in ruins,
that stood out like a gaunt ghost of the vandal Hun. There was the
little God's acre along the road which we passed every day. There were
always the observation-balloons against the evening sky. There were
always the fleet-winged birds of the air outlined against the evening.
There were always the marching men and the ambulance trains. But
standing out above them all, etched with the acid of regret and anger
and horror, stood that lonely tower. Night after night we approached
it with a beautiful sunset off to the west where the Germans lay buried
in their trenches. Coming back from the German lines we would see this
church-tower outlined against the crimson sky like a finger pointing
God-ward, and declaring to all the world that the God above would
avenge this silent, accusing Silhouette of Sacrilege.
There has been a good deal of discussion over a certain book entitled
"I Accuse." I never saw that finger pointing into the sky as we drove
through this village that it did not cry out to the heavens and across
the short miles to the German Huns, looking down, as it did, at its
feet where the ruined homes lay, the village that it had mothered and
fathered, the village that had worshipped within its simple walls, the
village that had brought its joys and sorrows there, the village that
had buried the dead within its shadows, the village that had brought
its young there to be married and its aged to be buried; there it
stood, night after night, against the crimson sky sometimes, against
the golden sky at other times; against the rose, against the blue,
against the purple sunsets; and ever it thundered: "I accuse! I
accuse! I accuse!"
Then there is that Silhouette of Sacrilege up on the Baupaume Road.
This is called "the saddest road in Christendom," because more men have
been killed along its scarred pathway than along any other road in all
the world. Not even the road to Calvary was as sad as this road.
Along this road when the French held it, during the first year of the
war, they gathered their dead together and buried them in a little
cemetery. Above the sacred remains of their comrades these French
soldiers erected a simple bronze cross as a symbol not only of the
faith of the nation, but a symbol also of the cause in which they had
died.
A few months later when the Germans had recaptured this spot, and it
had been fought over, and the bronze cross still stood, the Hun, too,
gathered his dead together and buried them side by side with the
French. Then he did a characteristic thing. He got a large stone as a
base and mounted a cannon-ball on top of this stone, and left it there,
side by side with the French cross.
Whether he meant it or not, his sacrilege stands as a fitting
expression of his philosophy, the philosophy of the brute, the religion
of the granite rock and the iron cannon-ball.
He told his own story here. Side by side in those two monuments the
contrast is made, the causes are placed. One is the cause of the
cross, the cause of men willing to die for brotherhood; the other is
the cause of those who are willing to kill to conquer.
And these two monuments, side by side on the Baupaume Road, stand out
as one of the Silhouettes of Sacrilege.
Then there is St. Gervais. On Good Friday afternoon a Hun shell
pierced the side of this beautiful cathedral as the spear-thrust
pierced the side of the Master so long ago. On the very hour that
Jesus was crucified back on that other and first Good Friday the Hun
threw his bolt of death into the nave of this church, and crucified
seventy-five people kneeling in memory of their Saviour's death.
I was in that church an hour after this terrible sacrilege happened.
Never can one forget the scene. I dare not describe it here in its
awful details.
The entire arches of stone that held up the roof had fallen in from the
concussion of the gases of the shell. Three feet of solid stones
covered the floor. Men and women were being carried out. Silk hats,
canes, shoes, hats, baby clothes, an expensive fur, lay buried in the
stone and dirt.
As I stood horrified, looking on this scene of death and destruction,
the phrase came into my heart:
"And the veil of the temple was rent in twain."
And this scene, too, shall remain as one of the Silhouettes of
Sacrilege.
But perhaps the worst Silhouette of Sacrilege that the film of one's
memory has brought away from France is that of a certain afternoon in
Paris.
I happened to be walking along the Boulevard to my hotel. The big gun
had been throwing its shells into the city all day. Suddenly one fell
so close to where I was walking that it broke the windows around me,
and I was nearly thrown to my feet. In my soul I cursed the Hun, as
all who have lived in Paris finally come to be doing as each shell
bursts. But I had more reason to curse than I knew at that moment.
The people were running into a side street, the next one toward which I
was approaching. I followed the crowd. My uniform got me past the
gendarmes in through a little court, up a pair of stairs where the
shell had penetrated the walls of a maternity hospital.
What I saw there in that room shall make me hate the Hun forever.
New-born babes had been killed, a nurse and two mothers. When I
thought of the expectant homes into which those babes had come, when I
thought of the fathers at the front who would never see again either
their wives or those new babies, when I saw the blood that smeared the
plaster and floors of that room, when I saw the little twisted baby
beds, a flush of hatred swept over me, as it did over all who saw it, a
new birth of hatred that could never die until those little babies and
those mothers and the nurse are avenged. That is a Silhouette of
Sacrilege that makes the gamut complete.
There was the desecration of the holy sanctuaries; there was the
desecration of the graves of brave soldiers of France; there was the
derision of his bronze cross; there was the desecration of the most
sacred day in Christendom, Good Friday, and then the desecration of
little children, mothers of new-born babes, and nurses. Could the case
be more complete? Could Silhouettes of Sacrilege cover a wider gamut
of hatred and disgust than these silhouettes picture?