Page:The four horsemen of the Apocalypse - (Los cuatro jinetes de Apocalipsis) (IA cu31924014386738).djvu/190

 interest, the symbolic value which the centuries have given them.

"This Arch," continued Tchernoff, "is French within, with its names of battles and generals open to criticism. On the outside, it is the monument of the people who carried through the greatest revolution for liberty ever known. The glorification of man is there below in the column of the place Vendôme. Here there is nothing individual. Its builders erected it to the memory of la Grande Armée and that Grand Army was the people in arms who spread revolution throughout Europe. The artists, great inventors, foresaw the true significance of this work. The warriors of Rude who are chanting the Marseillaise in the group at the left are not professional soldiers, they are armed citizens, marching to work out their sublime and violent mission. Their nudity makes them appear to me like sansculottes in Grecian helmets.… Here there is more than the glory and egoism of a great nation. All Europe is awake to new life, thanks to these Crusaders of Liberty.… The nations call to mind certain images. If I think of Greece, I see the columns of the Parthenon; Rome, Mistress of the World, is the Coliseum and the Arch of Trajan; and revolutionary France is the Arc de Triomphe."

The Arch was even more, according to the Russian. It represented a great historical retaliation; the nations of the South, called the Latin races, replying, after many centuries, to the invasion which had destroyed the Roman jurisdiction—the Mediterranean peoples spreading themselves as conquerors through the lands of the ancient barbarians. Retreating immediately, they had swept away the past like a tidal wave—the great surf depositing all that it contained. Like the waters of certain rivers which fructify by overflowing, this recession