Each had much regard for the other’s country, free from those tradi-
tional animosities dating back to the reign of Louis XIV. Lloyd George
grew up as an admirer of the French Revolution and of Napoleon, also
an enthusiast for Victor Hugo’s Les Misérables, an admirer of the French
Riviera and especially of Nice, where the Promenade des Anglais
offered ample opportunity for companionship. He had spoken in
favour of good relations with Republican France even at the time of
the Fashoda crisis in the Sudan in 1898, and warmly applauded the
conclusion of the Entente in 1904. There was an interesting dualism in
his complementary enthusiasm for Germany. The German Empire,
industrially thriving, Protestant and the land of Bismarckian social
reform, appealed to Lloyd George the New Liberal, the apostle of social
welfare. His National Insurance Act of 1911 was heavily shaped by
what he had seen in Germany in 1908, and his wider social and eco-
nomic outlook was influenced by that obsessive Germanophile W.H.
Dawson, who worked for him at the Board of Trade. Germany pushed
Lloyd George in the direction of the creed of ‘national efficiency’.
France, by contrast, appealed to Lloyd George the Old Liberal –
democratic, republican with a unique revolutionary tradition, anti-
aristocratic, anti-militarist, anti-clerical. As a child he was excited to
hear of the Paris Commune of 1871 (with which Clemenceau had
himself been entangled as mayor of Montmartre). He was particular-
ly stirred by the passage of the disestablishment of the Church in
France in late 1905, shortly before a general election in Britain in
which Welsh Liberals would campaign for a similar disestablishment
of the Church of England in Wales. As time went on, however, espe-
cially after his visit to Germany in 1908, this sympathy for France
was challenged by his enthusiasm for Bismarckian social reform (a
passion he shared with another social radical with whom he enjoyed
a mutual admiration, Theodore Roosevelt, the prophet of the pro-
gressive New Nationalism in the United States). Germany, not
France, was his main overseas inspiration thereafter, arguably for the
rest of his life, two world wars notwithstanding.
Clemenceau, unlike Lloyd George, was a serious intellectual and
lover of the fine arts, whose close friends included Claude Monet of
whom he became a notable patron. He rescued the ageing Monet’s
career at the end of the war with his support for his great project of
mural-sized water landscapes, the Décoration des Nymphéas, eventual-
ly placed in the Orangerie. He devoted part of his retirement to
30 Britain, France and the Entente Cordiale since 1904