The central figure is a woman, mounted upon a high pedestal, which stands in front of a huge temple, and she is holding aloft the laurel wreath of victory. Upon the first step of a giant stairway which leads to the temple is a group of French heroes which includes Joffre, Foch, Petain and many others, while in front of them are guns and flags bearing marks of conflict. The only allusion to Germany in the whole painting is in the battle-scarred flags and guns which were used in the first battle of the Marne. Upon this gigantic stairway are life-size figures of more than five thousand people nearly everyone of which is a life sketch of some French hero of the war. Among them are many women whose heroic work and influence will live forever.
Just across on the opposite side of the painting from this scene is depicted a gigantic tomb on the top of which is a group of soldiers holding aloft a great coffin in which is a dead companion. At the base and on the steps is a woman dressed in mourning, kneeling in the attitude of prayer, while nearby is a wreath inscribed to the unknown dead. Back of the tomb in the distance you can see the rays of the setting sun and in some indescribable way they are lighting up the faces of those on the temple stairway like a beautiful rainbow of promise, while the tomb itself is left in the shadows of the declining day.
In the group representing Belgium it is only natural that Edith Cavil should have a prominent place. To be sure King Albert and his queen and others are there. As in Belgium the first casualties occurred it is fitting that here alone is seen a wounded man and the Red Cross workers are caring for him as he lies upon a stretcher. Here too, are seen the broken pieces of a cathedral tower with a chalice and altar and Cardinal Mercier in his priestly robes, while lying on the steps between him and the king is the torn "scrap of paper."
But it would take pages of this book to give an adequate description of the entire panorama. Of course, all the allies are represented. In a group representing the United States, President Wilson is one of the chief figures. I am told that the picture of General Pershing is a life-sized painting, which he was kind enough to sit for, to be used in this production. Here is also seen an American Indian, a cowboy, a merchant and an artisan. An American flag is borne aloft while four West Point cadets suggest training and leadership. Women relief workers of all kinds are seen. Then extending entirely around the room above and back of all these groups is a profile map of France from the Channel to the Swiss border. Here can be seen the principal towns and cities involved during the war. Here, too, can be seen all the modern implements of war and everything is actual or life size.
As I stood gazing upon this wonderful production of artistic genius, my own brain almost reeled and staggered at the immensity and vividness of it. One moment the perspiration would break out and the next moment it was hard to keep the tears back. Pride, beauty, indignation, mourning, genius, art, science, invention, generalship, statesmanship, honor, love, tenderness, devotion, heroism and glory are all intermingled in a most marvelous way. The opportunity to behold and study this great panorama of the war is almost worth a trip to Paris. Then to think of the faith and courage it must have taken to work on and on while the shells from the big guns were bursting at regular intervals during the day and the bombs dropping from the aeroplanes above at night; all this fills and thrills one's heart with admiration for the French people.