There may be something finer in the way of a military spectacle than the change of horse-guards at Whitehall or the march of the foot-guards across the green in St. James' Park on a fine, bright morning—but I do not know what it is. One day, passing Buckingham Palace, I came on a footguard on duty in one of the little sentry boxes just outside the walls. He did not look as though he were alive. He looked as though he had been stuffed and mounted by a most expert taxidermist. From under his bearskin shako and from over his brazen chin-strap his face stared out unwinking and solemn and barren of thought.
I said to myself: "It is taking a long chance, but I shall ascertain whether this party has any human emotions." So I halted directly in front of him and began staring fixedly at his midriff as though I saw a button unfastened there or a buckle disarranged. For a space of minutes I kept my gaze on him without cessation.
Finally the situation grew painful; but it was not that British grenadier who grew embarrassed and fidgety—it was the other party to the transaction. His gaze never shifted, his eyes never wavered—but I came away feeling all wriggly.
In no outward regard whatsoever do the soldiers on the Continent compare with the soldiers of the British archipelago. When he is not on actual duty the German private is always going somewhere in a great hurry with something belonging to his superior officer—usually a riding horse or a specially heavy valise. On duty and off he wears that woodenness of expression—or, rather, that wooden lack of expression—which is found nowhere in such flower of perfection as on the faces of German soldiers and German toys.
The Germans prove they have a sense of humor by requiring their soldiers to march on parade with the goose step; and the French prove they have none at all by incasing the defenseless legs of their soldiers in those foolish red-flannel pants that are manufactured in such profusion up at the Pantheon.
In the event of another war between the two nations I anticipate a frightful mortality among pants—especially if the French forces should be retreating. The German soldier is not a particularly good marksman as marksmen go, but he would have to be the worst shot in the world to miss a pair of French pants that were going away from him at the time.
Still, when all is said and done, there is something essentially Frenchy about those red pants. There is something in their length that instinctively suggests Toulon, something in their breadth that makes you think of Toulouse. I realize that this joke, as it stands, is weak and imperfect. If there were only another French seaport called Toubagge I could round it out and improve it structurally.
If the English private soldier is the trimmest, the Austrian officer is the most beautiful to look on. An Austrian officer is gaudier than the door-opener of a London cafe or the porter of a Paris hotel. He achieves effects in gaudiness which even time Italian officer cannot equal.
The Italian officer is addicted to cock feathers and horsetails on his helmet, to bits of yellow and blue let into his clothes, to tufts of red and green hung on him in unexpected and unaccountable spots. Either the design of bottled Italian chianti is modeled after the Italian officer or the Italian officer is modeled after the bottle of chianti—which, though, I am not prepared to say without further study of the subject.
But the Austrian officer is the walking sunset effect of creation. For color schemes I know of nothing in Nature to equal him except the Grand Canyon of the Colorado. Circus parades are unknown in Austria—they are not missed either; after an Austrian officer a street parade would seem a colorless and commonplace thing. In his uniform he runs to striking contrasts—canary yellow, with light blue facings; silvers and grays; bright greens with scarlet slashings—and so on.