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 world, smiles happily into her baby's eyes as she holds him to her breast. It is a mother and child picture the like of which you will not find in any gallery of Europe. Azalie de Rigeaux, crooning softly here to her child, is a new figure in life, so new that she has not yet reached the canvas of even the modern masters in art. See just above the curve of her arm where rests the bay's head, the armlet that she wears on her left sleeve. Embroidered on it is that sign of her national enlistment, a bursting bomb. It is important because it is the clue to the new picture. All over the world war has called the woman to the factory. And what shall she do with the baby? Well, the baby is so valuable that the state is not going to let it cry.

It is France that makes the security for maternity gilt-edged. By the gifts they are bringing here, one would say that this is the country that to-day takes precedence of all others in its appreciation of the rising value of a baby. As every one has heard, there has not in a long time, in generations indeed, been a surplus of babies in France. As a matter of fact, they have always been scarce. And they are so dear that the passion for the child is the distinctive national trait. This building in which Azalie de Rigeaux nurses her child to-day was erected at a cost of 75,000 francs. It stands in the factory yard, adjacent to the shop in which women make shells. In this sunny high-ceilinged room, with plenty of sunlight and air, rows and rows of dimpled babies sleep in the blue cribs with the dainty white