"Mr. Gibbons," he said, "if that brother of mine, who runs the photograph gallery out on Paulina and Madison Streets in Chicago, could only see me now, he sure would tell the Rabbi. Can you beat it—a Jew here frying ham in the shadow of the Cross."
It was rather hard to beat—and so was the ham. We made this concession as we sat on the plinth of the monument and polished our mess kits with bread. And such bread—it was the regulation United States army issue bread—white, firm and chuck full of nourishment—bread that seemed like cake to the French youngsters who tasted it and who returned with open mouths and outstretched hands for more of the "good white bread."
After the meal, those members of Battery A not detailed for immediate duty denied themselves none of the joys that a new town, in a strange land, holds for a soldier.
Saint-Nicolas-du-Port boasts a remarkable cathedral of mediæval architecture, of enormous dimensions. It was crumbling with age, but still housed the holy. Time and the elements had left the traces of their rough usage upon the edifice.
Half of the statues on the broad façade of the cathedral had been broken, and now the niches afforded domiciles for families of pigeons. On the ground, in a careless pile, to one side of the frontal arch, was an ignominious pile of miscellaneous arms and legs and heads of sculptured figures, resting there in anything but saintly dignity. Two of our young artillerymen were standing in front of the cathedral surveying it.
"Certainly is in need of repairs," said one of them. "I'll bet they haven't done no bricklaying or plumbing on this place since before the Civil War."
"That ain't hardly the right way to treat old Saints," replied his companion, referring to the pile of broken statuary. "Seems like they ought to cement the arms and legs and heads back on those old boys and old girls and put them back on their pedestals. I guess, though, there ain't nobody living to identify the pieces, so they could get the right arms and heads on the right bodies."
Our battery had among its drivers an old timer who might have been called a historian. His opinion held weight in the organisation. He professed to be able to read American ball scores and war news out of French newspapers, a number of which he always carried. Later that day, I heard him lecturing the cathedral critics on their lack of appreciation of art and history.
"New things ain't art," he told them; "things has got to be old before they are artistic. Nobody'd look at the Venus dee Milo if she had all her arms on. You never hear nobody admiring a modern up-to-date castle with electric lighting and bath tubs in it. It simply ain't art.
"Now, this cathedral is art. This country around here is just full of history. Here's where whole book stores of it was written. Why, say, there was batteries of artillery rolling through this country a million years ago. It was right around here that Napoleon joined forces with Julius Cæsar to fight the Crusaders. This here is sacred ground."